Billy Wilder. Billy Wilder

Transcrição

Medienwissenschaft / Hamburg: Berichte und Papiere
141, 2012: Billy Wilder.
Redaktion und Copyright dieser Ausgabe: Hans J. Wulff.
ISSN 1613-7477.
ULR: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0141_12.pdf
Letzte Änderung: 20.8.2012.
Billy Wilder: Eine Arbeitsbibliographie
Zusammengestellt v. Hans J. Wulff
[*] Für Hinweise danke ich Ludger Kaczmarek und Ina
Wuff. Eingegangen sind Teile der verdienstvollen Bibliographie, die Frank Arnold für den Begleitband der Berlinale-Retrospektive Billy Wilders Filme (1980) kompilierte.
Inhalt:
Kreuzregister der Titel
Texte von Wilder
Literarische Texte
Drehbücher
Kleine Texte von Wilder
Bücher
Interviews
Kollegen und Freunde über Wilder
Analysen
Artikel
Themenhefte, Sektionen
Nicht einzeln nachgewiesene Titel
Obituarien
Regie: Billy Wilder. Einzelne Filme (in chronologischer
Folge)
The Major and the Minor
Five Graves to Cairo
Double Indemnity
The Lost Weekend
The Emperor Waltz
A Foreign Affair
Sunset Blvd.
Ace in the Hole
Stalag 17
Sabrina
The Seven Year Itch
The Spirit of St. Louis
Love in the Afternoon
Witness for the Prosecution
Some Like It Hot
The Apartment
One, Two, Three
Irma la Douce
Kiss Me, Stupid
The Fortune Cookie
The Private Life of Sherlock Holmes
Avanti!
The Front Page
Fedora
Buddy Buddy
Kreuzregister der Titel
(in der Chronologie der Filme)
Mauvaise graine (1934)
dt.: Böse Saat; aka: Böse Brut
engl.: Bad Blood; aka: Bad Seed
frz.: Mauvaise graine
ital.:Amore che redime
span.: Curvas peligrosas; aka: Semente do Mal; aka: La
mala Semulla
The Major and the Minor (1942)
dt.: Der Major und das Mädchen
frz.: Uniformes et jupons courts
ital.: Frutto proibito
span.: El Mayor y la menor
Five Graves to Cairo (1943)
dt.: Fünf Gräber bis Kairo
frz.: Les Cinq Secrets du désert
ital.: I cinque segreti del deserto
span.: Cinco tumbas al Cairo
Double Indemnity (1944)
dt.: Frau ohne Gewissen
frz.: Assurance sur la mort
ital.: La fiamma del peccato
span.: Perdición
The Lost Weekend (1945)
dt.: Das verlorene Wochenende
frz.: Le Poison
ital.: Giorni perduti
span.: Días sin huella
The Emperor Waltz (1948)
dt.: Kaiserwalzer; aka: Ich küsse Ihre Hand, Madame
frz.: La Valse de l'empereur
ital.: Il valzer dell'imperatore
span.: El vals del emperado
Billy Wilder // Medienwissenschaft/Hamburg, 141, 2012 /// 2
A Foreign Affair (1948)
Some Like It Hot (1959)
dt.: Eine auswärtige Affäre
frz.: La Scandaleuse de Berlin
ital.: Scandalo internazionale
span.: Berlín occidente
dt.: Manche mögen’s heiß
frz.: Certains l'aiment chaud
ital.: A qualcuno piace caldo
span.: Con faldas y a lo loco
Sunset Blvd. (1950)
The Apartment (1960)
dt.: Boulevard der Dämmerung
frz.: Boulevard du crépuscule
ital.: Viale del tramonto
span.: El crepúsculo de los dioses
dt.: Das Appartement
frz.: La Garçonnière
ital.: L'appartamento
span.: El apartamento
Ace in the Hole (1951)
One, Two, Three (1961)
aka: Big Carnival
dt.: Reporter des Satans
frz.: Le Gouffre aux chimères
ital.: L'asso nella manica
span.: El gran carnaval
dt.: Eins, zwei, drei
frz.: Un, deux, trois
ital.: Uno, due, tre!
span.: Un, dos, tres
Stalag 17 (1953)
dt.: Stalag 17
frz.: Stalag 17
ital.: L'inferno dei vivi
span.: Traidor en el infierno
Sabrina (1954)
dt.: Sabrina
frz.: Sabrina
ital.: Sabrina
span.: Sabrina
The Seven Year Itch (1955)
dt.: Das verflixte 7. Jahr
frz.: Sept Ans de réflexion
ital.: Quando la moglie è in vacanza
span.: La tentación vive arriba
The Spirit of St. Louis (1957)
dt.: Lindbergh – Mein Flug über den Ozean
frz.: L'Odyssée de Charles Lindbergh
ital.: L'aquila solitaria
span.:
Love in the Afternoon (1957)
dt.: Ariane – Liebe am Nachmittag
frz.: Ariane
ital.: Arianna
span.: Ariane
Witness for the Prosecution (1957)
dt.: Zeugin der Anklage
frz.: Témoin à charge
ital.: Testimone d'accusa
span.: Testigo de cargo
Irma la Douce (1963)
dt.: Das Mädchen Irma la Douce
frz.: Irma la douce
ital.: Irma la dolce
span.: Irma la Dulce
Kiss Me, Stupid (1964)
dt.: Küss mich, Dummkopf
frz.: Embrasse-moi, idiot
ital.: Baciami, stupido
span.: Bésame tonto
The Fortune Cookie (1966)
dt.: Der Glückspilz
frz.: La Grande Combine
ital.: Non per soldi... ma per denaro
span.: En bandeja de plata
The Private Life of Sherlock Holmes (1970)
dt.: Das Privatleben des Sherlock Holmes
frz.: La Vie privée de Sherlock Holmes
ital.: Vita privata di Sherlock Holmes
span.: La Vida privada de Sherlock Holmes
Avanti! (1972)
dt.: Avanti, Avanti
frz.: Avanti!
ital.: Che cosa è successo tra mio padre e tua madre?
span.: Avanti
The Front Page (1974)
dt.: Extrablatt
frz.: Spéciale première
ital.: Prima pagina
span.: Primera plana
Fedora (1978)
dt.: Fedora
frz.: Fedora
ital.: Fedora
span.: Fedora
Buddy Buddy (1981)
dt.: Buddy Buddy
frz.: Victor la gaffe
ital.: Buddy Buddy
span.: Aquí un amigo
Literarische Texte
Herr Ober, bitte einen Tänzer! Aus dem Leben eines
Eintänzers. In: BZ am Mittag, 17, 19.1.1927; 18,
2.1.1927; 20, 22.1.1927; 22, 24.1.1927.
Gekürzt: Ein Eintänzer berichtet. In: Velhagen und
Klasings Monatshefte, März 1930.
Repr. in: Filme, 2, März 1980, S. 7-9; Filme, 3, Mai
1980, S. 10-12.
Repr.: Herr Ober, bitte einen Tänzer! In: Blimp: Zeitschrift für Film, 18, 1991, S. 57-64.
Diew BZ-Frau und der deutsche Kronprinz. In: Der
Querschnitt 9,2, Febr. 1929.
Bücher an den Mann bringen. In: Der Querschnitt
10,3, März 1930.
Wie ich Zaharoff anpumpte. In: Der Querschnitt
13,4, April 1933.
Nachdr.: Es ging mir sehr dreckig. In: Westdeutsche
Allgemeine Zeitung, 6.9.1952.
Der Prinz von Wales geht auf Urlaub. Berliner Reportagen, Feuilletons und Kritiken der zwanziger
Jahre. Hrsg. v. Klaus Siebenhaar. Berlin: Fannei &
Walz 1996, 160 S.
Rez. (Holloway, Ronald) in: Kino: German Film, 63,
Mai 1997, S. 32.
Rez.: Fischer, Wolfgang: Berliner Reportagen von Billy Wilder. In: Film & TV Kameramann 46, Nov. 1997,
S. 171.
Aurich, Rolf [...] (Hrsg.): "Billie". Billy Wilders
Wiener journalistische Arbeiten. Wien: Vlg. Filmarchiv Austria 2006, 211 S.
Rev. (Horst Claus) in: Filmblatt 12,33, 2007, S. 72-74.
Rev. (Dassanowsky, Robert) in: Modern Austrian Literature 40,3, 2007, S. 108-.
Veröffentlichte Drehbücher (in der Chro-
nologie der Filme)
EMIL UND DIE DETEKTIVE. Drehbuch. Von Billie
Wilder frei nach dem Roman von Erich Kästner zu
Gerhard Lamprechts Film von 1931. Mit einem einf.
Essay von Helga Schütz und Materialien zum Film
von Gabriele Jatho. München: Ed. Text und Kritik
1998, 199 S. (Filmtext.).
Brackett, Charles / Wilder, Billy / Reisch, Walter:
NINOTCHKA (1939): shooting script. Script story
by Melchior Lengyel. Alexandria, VA: Alexander
Street Press 2004. [1st electronic ed.:] (American
Film Scripts Online.).
Wilder, Billy / Brackett, Charles / Reisch, Walter:
NINOTCHKA (1939): continuity script. Alexandria,
VA: Alexander Street Press 2005. [1st electronic ed.]
(American Film Scripts Online.).
Best American screenplays 3: complete screenplays.
Ed. by Sam Thomas. New York: Crown Publishers
1995, 412 S.
Darin: SUNSET BOULEVARD / Charles Brackett,
Billy Wilder and D.M. Marshman, Jr.
DOUBLE INDEMNITY / Billy Wilder and Raymond
Chandler.
Double Indemnity / USA 1944
Brackett, Charles / Wilder, Billy: Double indemnity.
In: Best film plays 1945. Ed. by John Gassner and
Dudley Nichols. New York, NY: Crown Publ. 1946,
S. 115-174.
Chandler, Raymond / Wilder, Billy: DOUBLE INDEMNITY, the screenplay. In: City sleuths and
tough guys. Ed. by David Willis McCullough. Boston: Houghton Mifflin 1989, S. 502-582.
Wilder, Billy: DOUBLE INDEMNITY. [The complete screenplay.] Berkeley [...]: University of California Press 2000, xvi, 123 S.
Ital.: LA FIAMMA DEL PECCATO. La sceneggiatura
completa. Di Raymond Chandler e Billy Wilder. Introduz. di Jeffrey Meyers. Roma: Elleu Multimedia 2004,
143 S.
Wilder, Billy / Cain, James Mallahan / Chandler,
Raymond: DOUBLE INDEMNITY (1944): shooting
script. Alexandria, VA: Alexander Street Press 2003.
[1st electronic ed.] (American Film Scripts Online.).
The Lost Weekend / USA 1945
Brackett, Charles / Wilder, Billy: The Lost Weekend.
In: Gassner, John / Nichols, Dudley (ed.): Best film
plays 1945. New York, NY: Crown 1946, S. 1-56.
Wilder, Billy / Brackett, Charles: THE LOST WEEKEND, Screenplay. Berkeley [...]: University of California Press 2000, xiv, 110 S. (Cinema studies.).
Brackett, Charles / Wilder, Billy: THE LOST WEEKEND (1945): shooting script. Alexandria, VA:
Alexander Street Press, 2003 [1st electronic ed.]
(American Film Scripts Online.).
Sunset Blvd. / USA 1950
Ital.: Wilder, Billy: SUNSET BOULEVARD: sceneggiatura. Roma: Bianco & Nero 1952, 105 S., [8] Taf.
(Testi e documenti per la storia del film.).
Auch in: Bianco e Nero 12,11-12, Novv./Diz. 1951.
Engl.: Brackett, Charles / Wilder, Billy / Marshman,
D.M.: SUNSET BOULEVARD. With an introduction
by Jeffrey Meyers. Berkeley, Cal. [...]: University of
California Press 1999, xvii, 126 S.
Drehbuch.
Ital.: VIALE DEL TRAMONTO: la sceneggiatura
completa, di Billy Wilder, Charles Brackett, D.M. Jr.
Marshman. [Trad. di Tatiana Petrovich Njegosh. Introduzione di Jeffrey Meyers. Nota all'ed. it. di Sara Antonelli.] Roma: Elleu Multimedia 2003, 175 S.
[Exzerpt:] 1950: Beverly Hills. In: Lapham's Quarterly 4,1, Winter 2011, S.176ff.
Wilder, Billy [et al.]: SUNSET BLVD. (1950): shooting script. Script story by Billy Wilder and Charles
Brackett. Sreenplay by Charles Brackett, Billy Wilder, and D. M. Marshman, Jr. Alexandria, VA: Alexander Street Press 2003. [1st electronic ed.] (American Film Scripts Online.).
Ace in the Hole / USA 1951
Wilder, Billy: L'Asso nella Manica (Big Carnival).
[Drehbuch.] Roma: Edizioni Filmcritica [1952], 99
S.
Stalag 17 / USA 1953
Wilder, Billy / Blum, Edwin: STALAG 17. Screenplay. Berkeley [...]: University of California Press
1999, xv, 137 S.
Wilder, Billy / Blum, Edwin: STALAG 17 (1953):
shooting script. Alexandria, VA: Alexander Street
Press 2003. [1st electronic ed.] (American Film
Scripts Online.).
Some Like It Hot / USA 1959
Wilder, Billy / Diamond, I.A.L.: SOME LIKE IT
HOT. A screenplay. London: Hamilton & Stafford
1959, 143 S. (Panther Book. 937.).
Zugl.: New York: New American Library 1959, 144
S., 8 Taf. (Signet Books. S 1656.).
Repr.: [For educational use only.] Leamington Spa:
Old Manor Farm 1959, 156 S. (Script international.).
[Drehbuch.[ In: Thomas, Sam (ed.): Best American
Screenplays. 2. Complete Screenplays. New York:
Crown 1990, S. S. 82-146 (Complete Screenplays.
2.).
Schnauber, Cornelius (ed.): SOME LIKE IT HOT:
MANCHE MÖGEN'S HEISS: Billy Wilder; I.A.L.
Diamond. [Drehbuch.] Wien: Europaverlag 1986,
172 pp.
Neuausg.: Wilder, Billy / Diamond, I.A.L.: SOME
LIKE IT HOT: screenplay. Hrsg. von Reinhard Gratzke. Stuttgart: Reclam 2008, 246 S. (Reclams Universal-Bibliothek: Fremdsprachentexte. 19753.).
Wilder, Billy [et al.]: SOME LIKE IT HOT (1959):
shooting script. Script story by Robert Thoeren and
Michael Logan. Screenplay by Billy Wilder and
I.A.L. Diamond Alexandria, VA: Alexander Street
Press 2004. [1st electronic ed.] (American Film
Scripts Online.).
The Apartment / USA 1960
APÂTO NO KAGI KASHIMASU = THE APARTMENT / "Jiji Eigo Kenkyû" Henshûbu yakuchu.
[Kyakuhon Billy Wilder & I.A.L. Diamond]. Tôkyô:
Kenkyûsha Shuppan 1960, 219 S. (Eiga kaiwa
daihon shirîzu / Motion Picture Dialogue Script Series. 11.).
Garrett, George P. / Hardison, O.B., Jr. / Gelefman,
Jane R. (eds.): Filmscripts Three. New York: Irvington 1989, 610 S.
Zuerst 1972.
Wilder, Billy: THE APARTMENT and THE FORTUNE COOKIE. Two Screenplays. New York: Praeger
1971, 191 S. (Praeger Film Library.).
Wilder, Billy / Diamond, I.A.L.: THE APARTMENT.
[Drehbuch.] London: Faber 1998.
Dt.: DAS APARTMENT. Aus dem Amerikan. Wien
[...]: Europaverl. 1987, 214 S. (Die Filme von Billy
Wilder.).
Irma la Douce / USA 1963
Wilder, Billy / Diamond, I.A.L.: Das Mädchen Irma
la Douce. [Aus d. Amerikan. übertr. von Anne Uhde
u. Peter Elsholtz.] Ungekürzte Ausg. [5. Aufl.], 81.85. Tsd. Reinbek: Rowohlt 1970, 117 S. (rororo.
688.).
Dt. zuerst 1964. Amerik. Original zuerst New York
1963.
Wilder, Billy / Diamond, I.A.L.: IRMA LA DOUCE
(1963): shooting script. Alexandria, VA: Alexander
Street Press 2004. [1st electronic ed.] (American
Film Scripts Online.).
Great Ideas That Never Got Filmed. In: Show 3,8,
Aug. 1963.
Genie auf dem Glatteis. Über Charles Chaplin: Die
Geschichte meines Lebens. In: Der Spiegel,
7.10.1964.
The Fortune Cookie / USA 1966
Nachdr.: Literatur im Spiegel. Reinbek: Rowohlt
1969.
Fedora / Frankreich/BRD 1978
Wilder, Billy: FEDORA. [Drehbuch.] Paris: L‘Avant-Scène Cinéma 1978, 58 S. (L'avant-scène cinéma. 216.).
In der normalen Heftfolge: FEDORA; découpage
après montage définitif et dialogue in extenso (script).
In: L'Avant-Scène Cinéma, 216, 1978, S. 7-24, 37-54.
Marlene Dietrich. In: Die Weltwoche 33,1670,
12.11.1965.
Repr. in: Werner Sudendorf: Marlene Dietrich. Dokumente/Essays/Filme. 2. München: Hanser 1978.
Ave atque vale. In: Action, Nov. 1967.
Repr.: Über Ernst Lubitsch. In: Aufbau (New York)
33,46, 17.11.1967.
McBride, Joseph (ed.): Filmmakers on filmmaking:
the American Film Institute seminars on motion pictures and television.1. Los Angeles, Cal.: J.P. Tarcher 1983, 214 S.
Darin: Billy Wilder, S. 57-70.
Kleine Texte von Wilder:
Stroheim: Der Mann, den man gern haßt. In: Der
Querschnitt 9,4, April 1929.
Gekürzt in: Kurier, 16.5.1957.
Propaganda durch Unterhaltung [16.4.1945]. Veröff.
in: Brewster S. Chamberlin: Kultur auf Trümmern.
Berliner Berichte der amerikanischen Information
Control Section, Juli–Dezember 1945. Stuttgart:
Deutsche Verlags-Anstalt 1979, S. 99-104.
Auch in: John F. Kennedy-Institut für Nordamerikastudien, Freie Universität Berlin: USA und Deutschland. Amerikanische Kulturpolitik, 1942-1949. Bibliograophie, Materialien, Dokumente. Hrsg. v. Michael
Hoenisch, Klaus Kämpfe, Karl-Heinz Pütz. Berlin:
Das Institut 1980, S. 300-304 (Materialien. 15.).
Wilder entwickelte die Idee einer "Propaganda durch
Unterhaltung" ("Popaganda through Entertainment").
Er war davon überzeugt, dass es für eine Demokratisierung wesentlich effektiver sei, gute Unterhaltung zu
bieten, in der indirekt demokratische Botschaften an
das Publikum enthalten seien.
One Head Is Better Than Two. In: Films and Filming 3,5, Febr. 1957, S. 7.
Nachdr. In: Richard Ksoszarski (ed.): Hollywood Directors, 1941-1976. Oxfort/London/New York: Oxford
University Press 1977.
(mit Charles Brackett) Ernst Lubitsch. In: The
Screenwriters 3,8, Jan. 1948.
Repr. in: Weiberg, Herman G.: The Lubitsch Touch.
3rd rev. and enl. ed. New York 1977.
Frz. in: Cahiers du Cinéma, 198, Febr. 1968, S. 24.
Le Film Francais, 2087, 2.3.1986, S. 160.
Tribute to the work of art director Alexandre Trauner
by Wilder.
Bekenntnisse eines Thonet-Besessenen. In: Das
Thonet Buch. Hrsg. v. Alexander Vegesack u. Albrecht Bangert. München: Bangert 1987, S. 4-5.
Vorwort. In: Manfred Deix: Augenschmaus. Das
neue Tagebuch. Zürich: Diogenes 1989.
Vorwort. In: Anthony Lipmann: Der Dandy als Designer: Ernst Dryden. München/Luzern: Bucher
1989.
Wilder looks back at Sturges bash. In: The Hollywood Reporter 319,23, Oct. 1991, S. 4, 58.
Trau. Filmvilag 35,3, 1992, S. 35-36.
Une tete vaut mieux que deux. In: Positif, 388, Juin
1993, S. 40-41.
Man sieht überall nur Taschentücher! In: Süddeutsche Zeitung Magazin, 7, 18.2.1994.
Zu SCHINDLERS LISTE, Steven Spielberg.
Senki sem lehet tokeletes. In: Filmvilag 38,1, 1995,
S. 48-55.
[N.t.]. In: Projections 4,1-2, 1995, S. 221.
Le premier rapatrie de Hollywood. In: Positif, 428,
Oct. 1996, S. 50-51.
Il principe di Galles va in vacanza. In: Close-up:
Storie della Visione 2,4, 1998, S. 6-7.
Stroheim, l'uomo che vi piacerebbe odiare. In: Close-up: Storie della Visione 2,4, 1998, S. 8-10.
Wir vom Filmstudio 1929. In: Tempo 2,169,
23.7.1929.
Wie wir unseren Studiofilm drehten. In: Der Montag
Morgen, 6, 10.2.1930.
Frz.: Genèse et but. A propos du tournage des HOMMES DU DIMANCHE. In: Positif, 465, Nov. 1999, S.
98-99.
Vorworte:
Lipmann, Anthony: Divinely elegant: the world of
Ernst Dryden. London: Pavilion 1989, 192 S.
Deix, Manfred: Augenschmaus. Das neue Tagebuch.
Mit einem Vorw. von Billy Wilder. Zürich: Diogenes
[1992], 239 S. – Zuerst 1989.
Macdonald, Kevin: Emeric Pressburger: the life and
death of a screenwriter. London: Faber and Faber
1994, xix, 467 S.
Chandler, Charlotte: I, Fellini. New York: Cooper
Square Press 2001, xxii, 419 S.
Ital.: Eu, Fellini. Pref. de Billy Wilder. Trad.de Reinaldo Guarany. Rio de Janeiro: Record 1995, 344 S.
Dt.: Ich, Fellini. München: Herbig 1994, 393, [24] S.
– Taschenbuchausg.: Reinbek: Rowohlt 1996, 410,
[39] S. (Rororo. 13774.).
Anderes:
Le Moal-Piltzing, Pia: Billy Wilders Satiren: Schauplatz Österreich und Deutschland. Im Angesicht der
Angst, des Schreckens, hilft am besten das beißende
Lachen. In: Österreichische Satire (1933-2000): Exil
- Remigration - Assimilation. [Internationale und
Pluridisziplinäre Tagung, vom 5. bis 7. Oktober
2002 in Metz.] Hrsg. von Jeanne Benay [...]. Bern:
Lang 2003, S. 241-275 (Convergences. 29.).
Bücher
Andrade, Ana Lúcia: O entretenimento inteligente:
a narrativa cinematográfica de Billy Wilder. Tese de
doutorado, São Paulo: Universidade de São Paulo,
Escola de Comunicações e Artes 2000, 267 S.
A obra do diretor, roteirista e produtor Billy Wilder é
reconhecida como uma das mais elaboradas e versáteis do cinema industrial, conseguindo o difícil
mérito de ser uma unanimidade - agradando tanto à
crítica especializada quanto ao grande público. Em
cerca de 70 anos de carreira, Wilder ajudou a aprimorar a narrativa cinematográfica do chamado cinema de
prosa, devido à sua habilidade como narrador, sempre
procurando prender a atenção do espectador. Além
disso, sua capacidade na elaboração de tramas, desenvolvendo estratégias eficazes e funcionais, continuam
influenciando os cineastas que atentam para uma narrativa que atinja o maior número possível de especta-
dores. Através da análise de seu trabalho, buscouse
evidenciar os principais elementos que revelam o estilo de Wilder como narrador, objetivando desvendar o
jogo cinematográfico com o público, através das
estratégias narrativas empregadas. O aprofundamento
na obra de um cineasta como Billy Wilder ajuda a desvelar os mecanismos do que se poderia considerar
uma narração eficaz, ou ?entretenimento inteligente? capaz de satisfazer do espectador mais simples ao
mais erudito.
Anon.: A selection of paintings, drawings, collages
and sculpture from the Collection of Mr. and Mrs.
Billy Wilder. [Introduction by H. J. Seldis.] [Santa
Barbara? 1966], 38 S.
Exhibition held at the Art Gallery, University of California, Santa Barbara, Oct. 11-Nov. 13, 1966, and
sponsored by the Committee on Arts and Lectures.
Anon.: The Billy Wilder Collection. [Auktionskatalog.] New York: Christie, Manson & Woods International Inc. 1989, 199 S.
Zu einer Auktion in New York am 13.11.1989.
Es liegen wohl einige Kataloge zu der Kunstsammlung Wilders vor (darunter: The Billy Wilder Art Collection. A Catalogue. Santa Barbara: Cal.: Regents of
the University of California 1968).
Anon.: Billy Wilder: study guide. Ed. by the American Film Institute. N.l.: The Institute 1979, 30 S.
(Dialogue on Film: seminar series.).
Armstrong, Richard: Billy Wilder, American film
realist. Jefferson, N.C.: McFarland 2000, vii, 164
pp.
Inhalt: Introduction (1-8) -- Hold Back the Dawn and
Ball of Fire (9-16) -- THE MAJOR AND THE MINOR (17-23) -- DOUBLE INDEMNITY (24-25) -THE LOST WEEKEND (36-41) -- SUNSET BLVD
(42-52) -- ACE IN THE HOLE (53-61) -- STALAG
17 (62-69) -- THE SEVEN YEAR ITCH (70-79) -THE SPIRIT OF ST. LOUIS (80-87) -- SOME LIKE
IT HOT (88-97) -- THE APARTMENT (98-107) -KISS ME, STUPID (108-114) -- THE FORTUNE
COOKIE (115-123) -- THE FRONT PAGE (124-130)
-- BUDDY BUDDY (131-136).
Rev. (Young, Harvey) in: Film and History 33,1,
2003, S. 79-80.
Rev. (Carstensen, Thorsten) in: Scope: an online journal of film studies, 10, 2008.
As folhas da cinemateca: Billy Wilder. Textos: João
Bénard da Costa, Manuel Cintra Ferreira. Lisboa:
Cinemateca Portuguesa-Museu do Cinema 2002,
132 S.
Ballester Añón, Rafael: Con faldas y a lo loco :Billy Wilder (1959). Valencia: Nau Llibres / Barcelona:
Octaedro, D.L. 2000, 102 S. (Guía para ver (NAU
Llibres.).).
Cappabianca, Alessandro: Billy Wilder. Firenze: La
nuova Italia 1984, 126 S. (Il Castoro cinema. 30.).
Zuerst als: Wilder: Billy Wilder. Firenze: La Nuova
Italia 1976, 114 S. (Il Castoro Cinema. 30.).
2. ed. rist. aggiornata, Milano: Il Castoro 1995, 129 S.
(Il Castoro Cinema. 30.).
[Roma]: L'Unità / Milano: Il Castoro 1995, 122 S. (Il
Castoro Cinema. 30. / I libri dell'Unità. 3.). [= Supplemento al n. 38 dell'Unità.]
Neuausg.: Milano: Il Castoro 2006, 116 S. (Il Castoro
Cinema. 30.).
Carreño Andrés, Vanesa: Crítica social en el cine
de Billy Wilder. Universidad Pontificia de Salamanca
2002, 188, VIII S.
Chandler, Charlotte: Nobody's perfect: Billy Wilder, a personal biography. New York: Simon &
Schuster 2002, xvi, 352 S.
Auch: New York: Applause Theatre & Cinema Books
2004, xvi, 352 S.
Rev. (Miller, Keith) in: Times Literary Supplement, 7,
Nov. 2003, S. 35.
Rev. (James, Nick) in: Sight and Sound 12,11, Nov.
2002, S. 34.
Rev. (Dayen, Rosalind) in: Library Journal 127,17,
15.10.2002, S. 74-.
Rev. (Gold, Sarah F. [...]) in: Publishers Weekly
249,33, 19.8.2002, S. 74ff.
Rev. (Gold, Sarah F. [...] ) in: Kirkus Reviews 70,16,
15.8.2002, S. 1188ff.
Rev. (Lazan, Michael) in: Back Stage 46,5, 14.4.2005,
S. 37.
Rev. (Spindle, Les) in: Back Stage West 11,44,
28.10.2004, S. 3A. Auch in: Back Stage 45,44,
29.10.2004, S. 37.
Wigston, Nancy: A Life in Hollywood. In: Books in
Canada 32,3, April 2003, S. 16-.
Colmenares Millán, Darío: Billy Wilder: el arte de
la ironía. Bogotá: Panamericana 2006, 164 S., [4]
Taf.
Colpart, Gilles: Billy Wilder. [Paris]: Edilig [1983],
126 S. (Filmo. 4.).
Rez. (Alion, Yves) in: Revue du Cinéma, 386, Sept.
1983, S. 90-91.
DelBuono, Oreste: Billy Wilder. Parma: Guanda
1958, 61 S. (Piccolo biblioteca del cinema. 8.).
Dick, Bernard F.: Billy Wilder. Boston: Twayne Publishers 1980, 188 S. (Twayne's theatrical arts series.).
Updated ed. New York: Da Capo Press 1996, 198 S.
With new afterword, a new "About the author", and
updates to the chronology and filmography.
Inhalt: Inside the Spanish Gates: Wilder and Paramount -- From Wordsmith to Image Maker: THE MAJOR AND THE MINOR -- Desert Intrigue and Urban
Deception: FIVE CRAVES TO CAIRO and DOUBLE
INDEMNITY -- Urban Deception and Desert Intrigue:
THE LOST WEEKEND and THE BIG CARNIVAL -Barbwire Comedy: A FOREIGN AFFAIR, STALAG
17, and ONE, TWO, THREE -- September Songs:
SABRINA, THE SEVEN YEAR ITCH, and LOVE IN
THE AFTERNOON -- The Human Comedies: SOME
LIKE IT HOT, THE APARTMENT, and AVANTI! -The Dirty Fairy Tales: IRMA LA DOUCE and KISS
ME, STUPID -- Bosom Buddies: THE FORTUNE
COOKIE and THE FRONT PAGE -- The Misfires:
THE EMPEROR WALTZ and THE SPIRIT OF ST.
LOUIS -- Sleuthing Around: WITNESS FOR THE
PROSECUTION and THE PRIVATE LIFE OF
SHERLOCK HOLMES -- Down among the Rotting
Palms: SUNSET BOULEVARD and FEDORA.
Gandini, Leonardo: Billy Wilder. Recco: Le Mani
1999, 156 S.
Gemünden, Gerd: A foreign affair: Billy Wilder's
American films. Oxford/New York: Berghahn Books
2008, 256 S. (Film Europa, 5.).
Dt.: Filmemacher mit Akzent: Billy Wilder in Hollywood. Aus dem Amerikan. von Petra Metelko & Cristine Wagner. Wien: Synema, 2006, 217 S.
Rez.: Cooke, Paul: Recent Trends in German Film
Studies. In: Monatshefte 102,3, Fall 2010, S. 384-399.
Rev. (Liebman, Roy) in: Library Journal 105,13,
1.7.1980, S. 1536.
Rev. (Taunton, Matthew) in: Times Literary Supplement, 15, Aug. 2008, S. 26-27.
Rev. (Terrasi, S. Kye) in: New German Review: A
Journal of Germanic Studies 24,1, 2011, S. 131-133.
Rev. (Vansant, Jacqueline) in: Modern Austrian Literature 41,2, 2008, S. 95-.
Film historians and critics, as well as his colleagues,
have consistently celebrated Wilder as an American
master from the classic studio era. Yet how American
is Billy Wilder, the Jewish émigré from Central Europe? To study Wilders work is to examine the reworking of several rich and varied cultural sensibilities,
shaped by his experience of displacement. This book
underscores these complexities, unpacking underlying
contradictions where previous commentators routinely
smoothed them out. Wilder emerges as an artist with
roots in sensationalist journalism and the world of entertainment as well as with an awareness of literary
culture and the avant-garde, features that lead to pro-
ductive and often highly original confrontations between high and low.
Kapitel: 1. An Accented Cinema -- 2. The Insurance
Man Always Rings Twice: DOUBLE INDEMNITY
(1944) -- 3. In the Ruins of Berlins: a foreign affair
(1948) -- 4. Ghosting Hollywood: SUNSET BOULEVARD (1950) and FEDORA (1978) -- 5. All Dressed
Up and Running Wild: SOME LIKE IT HOT (1959) -6. Being a Mensch in the Administered World: THE
APARTMENT (1960) -- 7. In the Closet of Sir Arthur
Conan Doyle: THE PRIVATE LIFE OF SHERLOCK
HOLMES (1970).
Giusti, Marco / Ghezzi, Enrico (a cura di): Billy
Billie. Tutti i film di Billy Wilder. Montepulciano:
Del Grifo 1982, 159 pp.
González Arroyave, Juan Carlos: Elogio de lo imperfecto. El cine de Billy Wilder. Medellin: Editorial
Universidad de Antioquia 2008, 250 S. (Col. Cine.).
El cine de Billy Wilder consta de un conjunto de crónicas que hacen un recorrido por la filmografía completa de este director, y que ofrecen una mirada orgánica de su vida, su obra, sus temáticas y su estilo, así
como del tiempo, la sociedad y la industria cinematográfica que le tocó vivir.
Grande, Maurizio: Billy Wilder. Milano: Moizzi
1978, 109 S. (Contemporanea cinema. 11.).
Neuausg.: Billy Wilder. A cura di Roberto De Gaetano.
Roma: Bulzoni [2006], 155 S. (Biblioteca Teatrale.
147. / Scritti di Maurizio Grande. 2.).
Guilbert, Georges-Claude (ed.): Literary readings
of Billy Wilder. Newcastle: Cambridge Scholars
Publ. 2007, 212 S.
Inhalt: Bolter, Trudy: Going backwards with Billy
Wilder: AVANTI!, a ghost play (5-24). - Friel, James:
You See, This Is My Life: The Worlds of Billy Wilder‘s SUNSET BOULEVARD (25-41). - Gross, Robert F.: Isnt It Romantic? Some Shots From SABRINA (42-66). - Guilbert, Georges-Claude / Magenham,
Nicolas: Gender in Billy Wilders SOME LIKE IT
HOT (67-134). - Hudelet, Ariane: Searching For Truth
in WITNESS FOR THE PROSECUTION (135-154). Magenham, Nicolas: KISS ME, STUPID: The End of
a Success Story? (155-162). - Paquet-Deyris, AnneMarie: Some Bitter Tale: Billy Wilders THE APARTMENT (163-172). - Saudo, Nathalie: A Beautiful
Baby: The Extra-extraordinary Case of Billy Wilder‘s
SHERLOCK HOLMES (173-189). - Wells-Lassagne,
Shannon: Private Eye, Public Eye: Adapting DOUBLE INDEMNITY (190-212).
Gyurko, Lanin A.: The shattered screen: myth and
demythification in the art of Carlos Fuentes and Bil-
ly Wilder. New Orleans, LA: University Press of the
South 2009, xi, 448 S.
Hanisch, Michael: Billy Wilder (1906-2002). Von
Galizien nach Beverly Hills. Teetz: Hentrich &
Hentrich 2004, 63 S. (Jüdische Miniaturen. 18.).
Rez. (Jürgen Kasten) in: Filmblatt 12,35, 2007, S.
125-127.
Henry, Nora: Ethics and social criticism in the Hollywood films of Erich von Stroheim, Ernst Lubitsch,
and Billy Wilder. Westport, Conn.: Praeger 2001, 225
S.
Darin 119-186.
Hermsdorf, Daniel: Billy Wilder: Filme - Motive Kontroverses. Bochum: Paragon-Verlag, 2006, 290
S.
Dass Wilders Filme als Ware funktionieren, muss
nicht mehr bewiesen werden. Dass sie jedoch ihren eigenen Charakter als Ware differenziert thematisieren,
ist eine Entdeckung. Und in dieser Selbstreflexion
werden Freuds Definitionen von Traumzeichen und
Symptomen erneut aktuell - als bewusste künstlerische
Kritik der Erzählform des Spielfilms, in der sich unsere Kultur ihre neuen Mythen mit den Vorzeichen von
Vermarktung und Reproduzierbarkeit erträumt hat.
Hesling, Willem (red.): Billy Wilder – tussen Weimar en Hollywood. Tekstred.: Linda Horn. Leuven/Apeldoorn: Garant [1991], 248 pp.
Rev. (Manning, Kitti) in: Skrien, 181, Dec./Jan. 1991,
S. 64.
Hopp, Glenn: Billy Wilder. Harpenden: Pocket Essentials 2001, 96 S.; online.
Neuausg.: Billy Wilder: the cinema of wit 1906-2002.
Köln/Los Angeles: Taschen 2003, 191 S.
Dt. als Bildband: Billy Wilder. Filme mit Esprit. 19062002. Red.: Paul Duncan. Köln [...]: Taschen 2003,
191 S.
Portug.: Billy Wilder: O cinema inteligente. Trad.
Constança Santana. Köln: Taschen 2003, 191, [3] S.
(A filmografia completa.).
Hutter, Andreas / Kamolz, Klaus: Billie Wilder.
Eine europäische Karriere. Wien/Köln/Weimar:
Böhlau 1998, 253 S.
Rez. (Stadler, Robert) in: Filmbulletin 40,3 (=217),
1998, S. 11.
Jacob, Jerome: Billy Wilder. Paris [...]: Rivages
1988, 192 S. (Rivages/Cinema. 17.).
Rev. (Girard, Martin) in: Séquences: la Revue de
Cinéma, 145, Mars 1990, S. 10-11.
Rev. (Legrand, Gerard) in: Positif, 338, Avril 1989, S.
79.
Rev. (Sauvaget, D.) in: Revue du Cinéma, 442, Oct.
1988, S. 94.
Karasek, Hellmuth: Billy Wilder: eine Nahaufnahme. Aktualis. u. erw. Neuausg., Hamburg: Hoffmann
und Campe 2006, 556 S.
Zuerst: Hamburg: Hoffmann und Campe 1992, 542,
[48] S.
Taschenbuchausg.: 3. Aufl., aktualisierte und erw. Fassung. München: Heyne 1995, 544 S. (Heyne-Bücher.
Allgemeine Reihe. 8897.).
Span.: Billy Wilder :nadie es perfecto. Ttraducción de
Ana Tortajada. 3rd ed. Barcelona: Grijalbo 1994, 465
S., [8] Taf. (Hojas Nuevas.). Zuerst 1993.
Portug.: Billy Wilder: e o resto é loucura. Tradução de
Flávia Buchwaldt. São Paulo: DBA 1998, 559 S.
Japan.: Birî Wairudâ jisaku jiden. [Transl. Yûji Segawa.] Tôkyô: Bungeishunjû 1996, 626 S.
Habel, F.-B.: Neue Künstlerporträts bei Heyne. In:
Film und Fernsehen 22,4/5, 1994, S. 117-118.
Rez. (Arnold, Frank: Hat es Spass gemacht, Mr. Wilder?) in: epd Film 18, Febr. 2001, S. 16-17.
Gangloff, Tilmann P.: Billy Wilders Witz und Lebensgeschichte. In: Medien + Erziehung 38,1, 1994, S. 4950.
Rev. (Hansen, Eric) in: Variety 350, 26.4.1993, S. 87.
Lally, Kevin [G.]: Wilder times, The life of Billy
Wilder. New York: H. Holt, 1996, xv, 496 pp., [16]
pls.
Span.: Billy Wilder: aqui un amigo. Ttraducción de
Ana Alcaina. Barcelona: Ediciones B 1998, 524 S.,
[16] Taf.
Rev. (Freeman, D.) in: New York Times Book Review
101,21, 1996, S. 10ff.
Rev. (Olson, Ray) in: Booklist 92,17, 1.5.1996, S.
1482.
Rev. (Rees, Stephen) in: Library Journal 121,7,
15.4.1996, S. 90-.
Rev. (Stuttaford, Genevieve) in: Publishers Weekly
243,12, 25.3.1996, S. 72-. -- Auch in: Book Report
15,3, Nov./Dec. 1996, S. 46-.
Rev. (Turner, George) in: American Cinematographer
77, Sept 1996, S. 110.
Rev. (Welsch, Tricia) in: Film Criticism 22,3, 1998, S.
51-55.
Kauffmann, Stanley: The Call of the Wilder. In: New
Republic, 4250, 1996, S. 38-41.
Walker, Jesse: Some Like Him not. In: American Enterprise 8,2, March/April 1997, S. 82ff.
Lane, Jeffrey / Borton, Douglas: The Billy Wilder
Tribute Book. The Fourteenth Annual American Film
Institute Life Achievement Award, March 6, 1986.
[S.l.: American Film Institute 1986], 84 S. (AFI souvenir ed.).
"The American Film Institute salute to Billy Wilder
will be broadcast over the NBC Television Network
on Saturday, April 26, 1986 at 10:00 p.m." (5).
McNally, Karen (ed.): Billy Wilder, movie-maker.
Critical essays on the films. Jefferson, NC [...]:
McFarland 2011, viii, 246 S.
Inhalt: What Exposure Is the World? The Desert Noir
of ACE IN THE HOLE (Lance Duerfahrd, 11-25). -An Unconventional War Film: Death, Disguise and
Deception in FIVE GRAVES TO CAIRO (Dale M.
Pollock, 26-40). -- Syncope, Syncopation: Musical
Hommages to Europe (Katherine Arens, 41-55). -Realistic Horror: Film Noir and the 1940s Horror Cycle (Mark Jancovich, 56-70). -- Shame and the Single
Girl: Reviving Fran and Falling for Baxter in THE
APARTMENT (Alison R. Hoffman, 71-86). -- "Have
They Forgotten What a Star Looks Like?" Image and
Theme with Dino, Cagney and FEDORA (Karen
McNally, 87-101). -- Phenomenological Masking:
Complications of Identity in DOUBLE INDEMNITY
(Phillip Sipiora, 102-116). -- "A Small, Effective Organization": The Mirisch Company, the Package-Unit
System, and the Production of SOME LIKE IT HOT
(Paul Kerr, 117-131). -- "Esthetically As Well as
Morally Repulsive": KISS ME, STUPID, "Bilious Billy," and the Battle of Middlebrow Taste (Ken Fell,
132-144). -- Censorship, Negotiation and Transgressive Cinema: DOUBLE INDEMNITY, SOME LIKE IT
HOT and Other Controversial Movies in the United
States and Europe (Daniel Biltereyst, 145-160). -- "I
Don't Have a Home!" Paris Interregnum in MAUVAISE GRAINE (Leila Wimmer, 161-177). -- Palimpsest:
The Double Vision of Exile (Nancy Stejfen-Fluhr,
178-192). -- SABRINA, Hollywood and Postwar Internationalism (Dina Smith, 193-208). -- Evolving
Modernities: Formation of the Urban Imagination in
Hindi Cinema (Sunny Singh, 209-224).
Madsen, Axel: Billy Wilder. London: Secker & Warburg 1968, 168 S. (Cinema one. 8.).
Auch: Bloomington, Indiana University Press 1969.
Mosso, Lucia (a cura di): Samuel and Billy. Testi di
A. Cappabianca [et al.]. Milano: Feltrinelli 2006,
133 S. (Feltrinelli Real Cinema.).
Naumann, Michaela: Billy Wilder. Hinter der Maske der Komödie. Der kritische Umgang mit dem kulturellen Selbstverständnis amerikanischer Identität.
Marburg: Schüren 2011, 384 S. (Marburger Schriften zur Medienforschung. 22.).
Zuerst: Diss., Universität Marburg 2010 (u.d.T.: Hinter der Maske der Komödie).
Inhaltstext: Das Sichtbare ist nicht das Offensichtliche
– weder in der Gesellschaft noch in seinen Filmen.
Die Unmittelbarkeit der Erkenntnis um die wahren ge-
sellschaftlichen Umstände ist hinter der Maske der
Komödie verborgen. Zwischen hehrem Anspruch und
Umsetzung, persönlichem Erfolgsstreben und moralischen Vergehen, Demokratie-Ideal und Dollar-Diplomatie entzündet sich die Komik. Wilder setzt rekurrent
auftretende Motive, wie bspw. Masekerade, Käuflichkeit und Betrug, kontrastiv zu den gesellschaftlich verankerten Wertvorstellungen ein und macht die Gefahr
sichtbar, die in der Legitimierung eines falsch verstandenen und egoistisch interpretierten Anspruchs des
‚pursuit of happiness’ liegt. Im raffinierten Spiel auf
der komödiantischen Klaviatur zeigen sich der Anspruch Wilders sowie sein Können, die Komik für seinen Zweck des Perspektivenwechsels zu formen und
zu instrumentalisieren. Mit der ihm eigenen Ernsthaftigkeit ist es ihm möglich, einen gesellschaftlichen
Zerrspiegel abzubilden und so die Oberfläche zu
durchbrechen. Wilders Kritik entlarvt die Inkongruenz
von Ideal und Wirklichkeit: den schmalen Grad der
Balance zwischen American Dream & American
Nightmare.
Phillips, Gene D: Some like it Wilder. The life and
controversial films of Billy Wilder. Lexington, Ky.:
University Press of Kentucky 2010, xiv, 446 pp.,
[32] pls. (Screen Classics.).
Inhalt: From Berlin to Hollywood : the early screenplays -- Champagne and tears: Ninotchka, Midnight,
and Ball of fire -- New directions: THE MAJOR AND
THE MINOR and FIVE GRAVES TO CAIRO -- The
rise of film noir: DOUBLE INDEMNITY -- Through
a glass darkly: THE LOST WEEKEND and DIE TODESMÜHLEN -- Wunderbar: THE EMPEROR
WALTZ and A FOREIGN AFFAIR -- Dark windows:
SUNSET BOULEVARD -- Barbed wire satire: ACE
IN THE HOLE and STALAG 17 -- Fascination: SABRINA and THE SEVEN YEAR ITCH -- Light up
the sky: THE SPIRIT OF ST. LOUIS and LOVE IN
THE AFTERNOON -- Remains to be seen: WITNESS
FOR THE PROSECUTION -- The gang's all here:
SOME LIKE IT HOT -- Love on the dole: THE
APARTMENT -- Love on the run: ONE, TWO,
THREE and IRMA LA DOUCE -- Grifters: KISS ME,
STUPID and THE FORTUNE COOKIE -- The game's
afoot: THE PRIVATE LIFE OF SHERLOCK HOLMES -- The perfect blendship: THE FRONT PAGE
and AVANTI! -- Twilight years: FEDORA and BUDDY BUDDY -- Epilogue: a touch of class.
Burnett, Allison: A walk on the Wilder side. In: Variety 384, 8.-14.10.2001, S. 71.
Rev. (Raw, L.) in: Journal of American Culture 33,4,
2010, S. 352-353.
Welsh, J.M.: Razor-sharp Billy Wilder, Remembered.
In: Literature Film Quarterly 38,4, 2010, S, 330-.
Dayen, Rosalind: Some Like It Wilder: The Life and
Controversial Films of Billy Wilder. In: Library Journal 135,2, 1.2.2010, S. 66-.
Rentero, Juan Carlos: Billy Wilder. Madrid: Ediciones JC. 1987, 188 S. (Colección Directores de Cine.
29.).
[2a. ed. y 1a. en esta col.] Billy Wilder :la romántica
amargura de un cínico. Madrid :JC Clementine 1999,
188 S. (Clásicos.Biografías de Cine.).
Zurückgehend auf eine Broschüre: Billy Wilder. Cádiz:
Muestra Cinematográfica del Atlántico 1986, 46 S.
Segawa, Yûji: Birî Wairudâ no eiga sahô. Tôkyô:
Meijidaigaku Shuppankai 2012, 301 S. (Meiji daigaku ribati bukkusu.).
Segawa, Yûji: Birî Wairudâ no romantikku komedi:
oatsui noga osuki apâto no kagi kashimasu hirusagari no jôji. ["Billy Wilder's Romantic Comedy"]
Tôkyô: Heibonsha 2012, 358 S.
Seidl, Claudius: Billy Wilder. Seine Filme, sein Leben. München: Heyne 1988, 303 S. (Heyne-Bücher.
32.)/(Heyne-Filmbibliothek. 116.).
2. Aufl. 1991.
Span.: Billy Wilder. [Traducción, Isabel Navarro]. 3ª
ed. Madrid: Cátedra 2000, 287 S. - Zuerst 1999.
Seidman, Steve: The film career of Billy Wilder. Boston: G.K. Hall 1977, xi, 175 S. (A Reference publication in film.).
Zugl.: London: Prior etc. 1977, xi,175 S.
Enthält: „Writings about Wilder, 1944-77", S. 115148. Reviews: 149-156.
Rev. in: Filmmakers Film & Video Monthly 12, Oct.
1979, S. 48.
Signorelli, Angelo / Invernici, Angelo (a cura di):
Un tocco di Wilder. S.l.: Fondazione della Comunità
bergamasca, stampa 2007, 127 p.
Außentitel: Lab 80 film, Bergamo Film Meeting 25,
Federazione italiana cineforum.
Über DOUBLE INDEMNITY, LOVE IN THE AFTERNOON, WITNESS FOR THE PROSECUTION,
ONE, TWO, THREE, KISS ME, STUPID! und THE
FORTUNE COOKIE.
Sikov, Ed: On Sunset Boulevard. The life and times
of Billy Wilder. New York: Hyperion 1998, ix, 675 S.
Span.: Billy Wilder – vida y época de un cineasta. Traducción de Vicente Campos. Barcelona: Tusquets
2000, 829 S., [12] Taf. (Tiempo de memoria. 6.).
Rev. (Belton, John) in: Cineaste 24,4, 1999, S. 57-58.
Rev. (Hannula, Risto) in: Filmihullu, 1, 1999, S. 50.
Rev. (Hulse, E.) in: Publishers Weekly 245,40,
5.10.1998, S. 72.
Rev. (Kurtz, S.: Hollywood Cynic) in: Reason (Los
Angeles) 31,2, 1999, S. 70.
Rev. (Mathews, Charles) in: Book World, 3.1.1999, S.
5.
Rev. (Monder, Eric) in: DGA Magazine 23,6, 1999, S.
85-86.
Rev. (Newman, Kim) in:Advocate, 780, 2.3.1999, S.
67.
Rev. (Olson, Ray) in: Booklist 95,5, 1.11.1998, S. 462.
Rev. (Sarris, Andrew) in: New York Times Book Review 103,52, 1998, S. 5.
Span.: Billy Wilder: Vida y época de un cineasta. Ed.
Barcelona: Tusquets; 2000, 829 pp.
Simsolo, Noël: Billy Wilder. [Übers. v. Trista Selous.] Paris: Cahiers du cinéma Sarl 2011, 102 pp.
Erste frz. Ausg. als: Billy Wilder. Paris 2007, Cahiers
du cinéma Sarl.
Span.: Billy Wilder. Traducción, Núria Pujol. Madrid:
El País [2008], 95 S.
Portug.: Billy Wilder. Consultor para a ed. port., Mário
Augusto. Trad. de Mário Júnior. Lisboa: Público 2007,
95 S. (Grandes Realizadores. 18.). [= Ed. exclusiva
para o Jornal Público.]
Sinyard, Neil /Turner, Adrian: Journey down Sunset Boulevard. The films of Billy Wilder. Ryde, Isle of
Wight: BCW Publishing 1979, xiv, 366 S.
Dt., gegenüber der Originalausg. erweitert: Billy Wilders Filme. Mit Beitr. von Heinz-Gerd Rasner [...].
[Hrsg. von der Stiftung Deutsche Kinemathek].
Berlin : Spiess 1980, 510 S. (Internationale Filmfestspiele Berlin, Stiftung Deutsche Kinemathek, Retrospektive 1980.).
Rez. (Ryan, Tom) in: Cinema Papers, 36, Febr. 1982,
S. 78-79.
Rez. (Pulleine, Tim) in: Sight & Sound 49,2, 1980, S.
129.
Rez. (Torres-Dulce Lifante, Eduardo) in: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S.
196-197.
Tovar Paz, Francisco Javier: En bandeja de Plautoun ensayo sobre Billy Wilder. Cáceres: Universidad de Extremadura, Servicio de Publicaciones
2003, 74 S.
Vera, Gerardo (dir. artistica.): Billy Wilder:[exposición] Fundación Arte y Tecnología. Madrid: Fundación Arte y Tecnología 1996, 258 S.
Text in Span. u. Engl.
Wood, Tom: The bright side of Billy Wilder, primarily. Garden City, N.Y.: Doubleday 1970, 257 S.
Span.: Quién diantres eres, Billy Wilder? [Traducción:
Augusto Herranz Parsonage.] Barcelona: Laertes
1990, 302 S.
Zolotow, Maurice: Billy Wilder in Hollywood. New
York: Putnam 1977, 364 S.
2nd ed. 2nd ed. New York: Limelight 1992, 396 S.,
[16] Taf.
3rd ed. New York: Limelight Ed. 1996, 396 S.
Auszug: Film Comment 15,1, Jan. 1979.
Japan.: Birî Wairudâ in Hariuddo. [Transl. Yasushi
Kawarabata.] Tôkyô: Nihon Terebi Hôsômô 1992, 589
S.
Rev. (Cook, Ann) in: Library Journal 102,11,
1.6.1977, S. 1301-.
Rev. in: Bianco e Nero 39, Marzo/Aprile 1978, S. 142.
French, Philip: Ace of trumps. In: The Times Literary
Supplement, 3960, 17.2.1978, S. 196.
Zyto, Kamila [...] (red.): Billy Wilder – mistrz kina
z Suchej Beskidzkiej. Warszawa: Wydawn. Trio
2011, 206 S.
Barbara Wozniak: Suskie źlady Billy'ego Wildera / 1020. -- Tomasz Majewski: Berlin/Wilder
reminiscencje / 21-44. -- Marcin Pieńkowski: Kino pól
żartem, pól serio. O komizmie w filmach Billy'ego
Wildera / 45-64. -- Elżbieta Durys: Stworzone dla
mężczyzn i miłości. Kobiety w filmach Billy'ego Wildera / 65-90. -- Kamila Żyto: „Nobody's perfect". Problem męskości w filmach Billy'ego Wildera / 91-110.
-- Patrycja Włodek: Pan Hyde i pan Hyde. Billy Wilder, Raymond Chandler i Podwójne ubezpieczenie /
111-131. -- Grzegorz Habryn: Wiedeñska kawa z mlekiem w Hollywood. Czy film STALAG 17. Billy'ego
Wildera da się jeszcze oglądać? / 132-144. -- Rafał
Koschany: FEDORA Billy'ego Wildera. Film, mit i
prywatna mitologia / 145-162. -- Agnieszka Sadowska: As w potrzasku Billy'ego Wildera. Traktat o
mrocznej stronie ludzkiej natury / 163-180.
Rezensionen
Arnold, Frank. Billy Wilder. In: epd Film 9, Dez.
1992, S. 22.
Brandlmeier, Thomas: Billie Wilders frühe Jahre. In:
epd Film 15, Okt. 1998, S. 11.
Ciment, Michel: Les livres. In: Positif, 237, Déc.
1980, S. 78-79.
Elia, Maurice: Et tout le reste est folie. In:
Séquences: la Revue de Cinéma, 169, Févr. 1994, S.
58.
Gerhold, Hans: Billy Wilder. In: epd Film 5, Juli
1988, S. 8.
Gillett, John. On the shelf. In: Films Illustrated 9,
April 1980, S. 311.
Jones, Malcolm. Cut! And that's a wrap! In:
Newsweek 134, 15.11.1999, S. 90.
Lane, Anthony: Boys will be girls. In: The New Yorker 77, 22.10.2001, S. 72-77.
John Mercer. Rez. In: Journal of the University Film
Association 23,3, 1971, S. 94-96.
Mitchell, Lisa. Wilder at heart. In: DGA Magazine
21,4, 1996, S. 58.
O'Hagan, Andrew. Nobody's perfect.In: New York
Review of Books 47, 13.4.2000, S. 4-6+.
Pesonen, Sauli: Kepoinen ohjaajamuotokuva. In:
Filmihullu, 1, 1989, S. 37.
Phillips, Gene D.: Wyler and Wilder times. In: Literature/Film Quarterly 24,3, 1996, S. 335-336.
Schuchnig, Josef: Biografien. In: Filmkunst: Zeitschrift für Filmkultur und Filmwissenschaft, 143,
1994, S. 57-58.
Welsh, Jim: Razor-sharp Billy Wilder, Remembered.
In: Literature/Film Quarterly 38,4, 2010, S. 330330.
Interviews
Adair, Gilbert: Wilder bewildered. In: Sight and
Sound 46,1, Winter 1976/77, S. 52-53.
Asper, Helmut G. (Hrsg.): „Etwas Besseres als den
Tod ...“ Filmexil in Hollywood. Porträts, Filme, Dokumente. Marburg: Schüren 2002, 679 S. (Edition
Film-Dienst. 2.).
Darin: Hollywood nach dem Krieg. Ein Interview mit
Billy Wilder, S. 56-59.
Billy Wilder. A candid conversation with the master
of filmic comedy. In: Playboy 10,6, June 1963, S.
57-58, 60-62, 64-66.
Billy Wilder. In: Conversations with the great moviemakers of Hollywood's golden age at the American Film Institute. Ed. and with an introduction by
George Stevens, Jr. New York: A.A. Knopf 2006, xx,
710 pp.
Brown, Vanessa: Billy Wilder: Broadcast to Kuala
Lumpur. In: Action 5,6, Nov. 1970.
Bruno, Edoardo / Giacci, Vittorio: Intervista con
Billy Wilder. In: Filmcritica: Rivista mensile di Studi sul Cinema 33 Nov./Dec. (=329/330), 1982, S.
515-524.
Buchwald, Art: Le festival et les sardines. [Interview with Wilder.] In: Bulletin quotidien de la Cinématographie Française (Festival de Cannes), Mai
1960.
Ciment, Michel: Passeport pour Hollywood. Entretiens avec Wilder, Huston, Mankiewicz, Polanski,
Forman, Wenders. Paris: Ed. du Seuil 1987, 392 S.
Taschenbuchausg.: Paris: Édition Ramsay 1992
(Ramsay Poche Cinéma. 108.).
Auszugsw. span.: Ciment, Michel: Billy & Joc: conversaciones con Billy Wilder y Joseph L. Mankiewicz.
Madri : Plot 1988, 144 S.
Ciment, Michel: Entretien avec Billy Wilder. In:
Positif, 269/270, Juli/Aug. 1983, S. 15-28.
Columbus, Chris: Wilder times. [Interview.] In:
American Film 11, March 1986, S. 22-28.
Interview in which Wilder remembers the old Hollywood and his early work and comments on the industry today.
Crowe, Cameron: Conversations with Wilder. New
York: Knopf; distrib. by Random House 1999, xix,
373 S. (A Borzoi book.).
Werkstattgespräche mit Billy Wilder.
Zugl.: London: Faber and Faber 1999.
New York: Knopf 2001, xix, 373 S.
Ital.: Conversazioni con Billy Wilder. Con la collaborazione di Karen Lerner. 2. ed., Milano: Adelphi 2003,
XIX, 375 S.
Span.: Conversaciones con Billy Wilder. [traductora,
María Luisa Rodríguez Tapia.] Madrid: Alianza Ed.
2002, 379 S. (El Libro de Bolsillo. Cine y Comunicación.).
Japan.: Wairudâ nara dôsuru: Birî Wairudâ to Kyameron Kurô no taiwa. [Transl. Takaharu Miyamoto.]
Tôkyô: Kinema Junpôsha 2001, 456 S.
[Exzerpt:] Conversations with Billy. In: Vanity Fair,
470, Oct. 1999, S. 296ff.
Dt.: Hat es Spaß gemacht, Mr. Wilder? München: Diana Verlag 2000, xxi, 372 pp.
Frz.: Conversations avec Billy Wilder. Avec la collab.
de Karen Lerner. Préf. de Thierry Frémaux. Trad. de
l'anglais par Jean-Pierre Coursodon. [Lyon:] Institut
Lumière / [Arles:] Actes Sud 2004, 283 S.
Span.: Conversaciones con Billy Wilder. Madri : Alianza, cop. 2000, xix, 365 S.
Rev. (Masson, Alain) in: Positif, 485/486, Juli/Aug.
2001, S. 146-147.
Rev. (Roberts, Jerry) in: DGA Magazine 24,5, 2000, S.
104.
Rev. (Zone, Ray) in: American Cinematographer 81,
June 2000, S. 163-164.
Rev. (Konow, David) in: Creative Screenwriting 13,3,
2006, S. 25.
Rev. [PM] in: Sight and Sound 10,5, May 2000, S. 38.
Rev. (Czarny, N.) in: Quinzaine littéraire, 894, 2005,
S. 31.
Rev. in: In the Picture, 38, April 2000, S. 25.
Aldiss, Brian: Do, do show it. In: The Times Literary
Supplement, 5047, 31.12.1999, S. 17.
Exzerpt: Crowe, Cameron: Conversations with Billy.
In: Vanity Fair, 470, Oct. 1999, S. 160-179.
Inhalt: Jack Lemmon and George Cukor -- Final scene
of SOME LIKE IT HOT -- "Cary Grant slipped
through my net every time" -- On Spielberg and Kubrick -- "Mr. Goldwyn knew what was working" -Charles Boyer and the cockroach -- Dancing in Berlin
-- "Laughton was everything that you can dream of, times ten" -- The "Lubitsch touch" -- Marilyn Monroe -Collaborating with Charles Brackett and I.A.L. Diamond -- William Holden for SUNSET BOULEVARD
-- DOUBLE INDEMNITY -- "You dig?" Audrey Hepburn -- "It was a picture that looked like a newsreel" -"Fritz Lang told me, 'Look for the good shooters'" -The broken compact mirror -- Thonet furniture and art
direction in THE APARTMENT -- Shooting in blackand-white -- Dietrich lit herself -- On not losing the
straight line -- Jean Arthur -- a foreign affair -- "Dietrich would do anything that I wanted her to do" -- The
look -- ACE IN THE HOLE -- "You can never predict
an audience's reaction" -- THE SEVEN YEAR ITCH
-- Lindbergh and THE SPIRIT OF ST. LOUIS -- Gary
Cooper -- "I don't shoot elegant pictures" -- Dirty men
and STALAG 17 -- "When I write, I'd like to direct.
When I direct, I'd like to write" -- The ghost of SUNSET BOULEVARD hung over FEDORA -- "I'm a
company man" -- Voice-overs -- "There are no rules"
-- Romantic comedies -- "Jack Lemmon was my Everyman" -- First love -- THE FORTUNE COOKIE -Mother at Auschwitz -- "I never introduce anybody to
an agent" -- Children -- Jean Renoir and Fellini -"Print number one" -- Picasso and Freud -- "Make it
true, make it seem true" -- Leading men and leading
ladies -- "You are attracted to something which is on
the screen only" -- LOVE IN THE AFTERNOON -- "I
never raise my voice on the second or third take" -Close-ups -- WITNESS FOR THE PROSECUTION -Charles Laughton -- Dean Martin -- SOME LIKE IT
HOT -- "I never knew what Marilyn was going to do"
-- ONE TWO THREE -- Cagney -- "Overall, audiences are much smarter than what they are getting"
-- Fleeing Berlin for Paris after the Reichstag fire -"Mom was a good cook" -- Reflection in the monocle
-- "Capra hit the times right on the head" -- Preston
Sturges in the Cafe Alexandre -- Howard Hawks and
BALL OF FIRE -- Barbara Stanwyck dancing "Drum
Boogie" -- A script on scratch paper -- Writing for
other directors -- Final shot of ACE IN THE HOLE -"I never put much camera direction into the screenplays" -- Marx Brothers -- Mars and time capsules -Scoring a film -- Shooting at the Hotel del Coronado
-- Givenchy for Audrey Hepburn -- Drag in SOME
LIKE IT HOT -- "We have sold out to the guys making special effects" -- Newspapermen in Vienna and
Berlin -- Ghostwriting for movies -- Ginger Rogers -AVANTI! -- "I always need a plot" -- Jazz in Berlin -"I write with the camera, but not too much" -- THE
FRONT PAGE -- Pauline Kael -- "Famous 'lost sequences'" -- Woody Allen -- Hiding the plot point -Roommate Peter Lorre at the Chateau Marmont -FIVE GRAVES TO CAIRO -- "Pictures were made to
play for a week" -- THE LOST WEEKEND -- John
Barry-more -- Wilder's women -- "I'm at my best writing against my mood" -- Working with I.A.L. Diamond -- Good sentimentality -- The small movie -Exercising with Billy -- Salinger and Catcher in the
Rye -- Lubitsch and NINOTCHKA -- "We made fifty
pictures a year then. But we wrote a hundred and
fifty" -- "I don't make cinema, I make movies" -Monday Night Football at the Wilders' -- Erotikon -"I am mostly a writer" -- Timing and casting -- "Lubitsch did it better".
Crowe, Cameron: Conversations with Billy. In: Vanity Fair, 470, Oct. 1999, S. 295-315.
Domarchi, Jean / Douchet, Jean: Entretien avec
Billy Wilder. In: Cahiers du Cinéma 23,134, Aug.
1962, S. 1-16.
Erzähl mir einen Witz, den ich noch nicht kenne! In:
Süddeutsche Zeitung Magazin, 22, 31.5.1991.
Gespräch zwischen Billy Wilder und Walter Matthau.
Es war wie in New York. Kult-Regisseur Billy Wilder über das Berlin der zwanziger Jahre. In: Spiegel
Special, 6, 1.6.1997.
George, Manfred: Hollywood segelt ind en Sonnenaufgang. In: Stuttgarter Zeitung. 22.6.1962.
Auch als „Von der Zukunft des amerikanischen Films“
in: Aufbau (New York) 28,23, 8.6.1962.
Habel, Frank-Burkhard / / Schwarzkopf, Oliver
(Hrsg.): Das war Kintopp! 100 Jahre Film. Die ersten fünfzig Jahre. Von den lebenden Bildern zum
Ufa-Tonfilm. Ein Streifzug in Wort und Bild. Mit einem Exklusiv-Interview mit Billy Wilder. Berlin:
Schwarzkopf und Schwarzkopf 1995, 191 S.
Harmisch, Paul: Wilder, interviewed by... In: The
Los Angeles Times, 23.1986.
Higham, Charles: [Interview with Billy Wilder.] In:
Sight and Sound 37,1, Dec. 1967, S. 21-23.
Fast unveränd. Nachdr. In: Higham, Charles / Greenberg, Joel: The Celluloid Muse. Hollywood Directors
Speak. London [...]: Angus & Robertson 1969, S. 244253, Billy Wilder.
Hulse, E.: Billy Wilder Speaks. In: Video Librarian
22,1, Jan./Febr. 2007, S. 80.
The article reviews the documentary film BILLY
WILDER SPEAKS, directed by Volker Schlöndorff.
Hunter, Lew: A dialogue with Mr. Wilder. In: Creative Screenwriting 13,4, July 2006, S. 72-75.
Transcript of an interview in which Billy Wilder talks
about his work as a screenwriter, given as part of the
UCLA screenwriting programme in 1995.
Hutter, Andreas: „Bitt schön, sprechen wir über den
Staubzucker.“ Ein Interview mit Billy Wilder über
Madonna und Marlene, Ohrfeigen und Wien. In: Die
Presse, 6.-7.3.1993, S. i-ii.
„The jury has already ruled I have no talent“. In: Los
Angeles Herald-Examiner, 6.1.1966.
Karasek, Hellmuth: „Wie geht‘s, mein kleiner
Zwetschgenröster?“ In: Der Spiegel, 21, 19.5.1986,
S. 198-216.
Auch in: Karaseks: Karaseks Kulturkritik. Literatur Film - Theater. Hamburg: Rasch und Röring 1988, S.
56-70.
Kerr, Charlotte: „Ich versuche zu unterhalten“. Ein
Gespräch mit dem Hollywood-Regisseur Billy Wilder. In: Süddeutsche Zeitung, 12.9.1977.
Kirkham, Pat: Saul Bass and Billy Wilder: In Conversation. In: Sight and Sound 5,6, June 1995, S. 1821.
Director Billy Wilder and graphic designer Saul Bass
had cooperated in the film 'The Seven year Itch' and
recognize the similarities of visual manipulation techniques in their two fields. Wilder is known for his
work in 'Psycho,' which is considered to be the height
of the mystery thriller genre. Meanwhile, Bass perfected the combination of montage effects and graphics
for his work. Both recognize the influence of European and Russian cinematographers in their work.
Linville, James: Billy Wilder: The Art of Screenwriting No. 1. In: Paris Review, Spring 1996, S. 138ff.
Repr. in: Gourevitch, Philip (ed.): The Paris Review
Interviews. 1. New York: Picador 2006, S. 412-436.
Writer director Billy Wilder is critical of the theory
that describes films as a director's medium. He believes movies are authored but the screenplay writer rarely gets to share the credit and is seldom involved in
the actual making of the film. Wilder's rationale for
opting to direct was to protect the sanctity of the
script. Wilder claims to have an elegant yet simple style of writing and feels indebted to the German director
Ernst Lubitsch, who had a deep impact on his works.
Wilder elaborates his experience of working with different actors.
McCarthy, T. / McBride, Joseph: Going for extra
innings. [Interview with Billy Wilder.]. In: Film
Comment 15, Jan./Febr. 1979, S. 40-48.
Mundy, Robert / Wallington, Michael: Interview
with Billy Wilder. In: Cinema (Cambridge), 4, Oct.
1969.
Norman, Barry: Billy Wilder. In: Listener 92,2386,
19.12.1974, S. 83.
Phillips, Gene D.: Interview with Billy Wilder. In:
Literature/Film Quarterly 4,1, Winter 1975/76.
Photoplay 30,9, Sept. 1979, S. 20-21, 58.
The director talks about the great stars he has known
and worked with.
Porfirio, Robert: Billy Wilder: About Film Noir.
[Interview.] In: Images, 10, n.d., URL: http://www.imagesjournal.com/issue10/features/wilder/.
Das Interview wurde 1975 geführt; es wurde in vollem
Umfang zuerst in: Film Noir Reader 3 (2002) veröffentlicht. Der Text ist gegenüber dem Volltext gekürzt.
Porges, Frederick: Billy Wilder und der ÖdipusKomplex. Unterhaltung über eine Sophokles-Verfilmung. In: Die neue Zeitung (Frankfurt), 8.-911.1952.
Auch als „Ödipus wird filmreif“ in: Der Aufbau (New
York) 19,2, 9.1.1953.
Porfirio, Robert / Silver, Alain / Ursini, James
(eds.): Film noir reader 3. Interviews with filmmakers of the classic noir period. New York: Limelight
Editions 2002, viii, 239 S.
Interviewees include Billy Wilder (DOUBLE INDEMNITY and SUNSET BOULEVARD).
Prelutsky, Burt: An interview with Billy Wilder. In:
Michigan Quarterly Review 35,1, Winter 1996, S.
64-75.
Repr. in: The Movies: texts, receptions, exposures. Ed.
by Laurence Goldstein and Ira Konigsberg. Ann Arbor: University of Michigan Press 1996, S. 166-175.
Billy Wilder is a screenwriter and director responsible
for many classic films such as 'The Seven Year Itch.'
He started out as a newspaper writer in Vienna, Austria, and moved to America when he was 28. He wrote
most of his work in tandem with another writer, initially because he lacked confidence and later because he
was lonely.
Preute, Claus: Playboy Interview: Billy Wilder. In:
Playboy (dt. Ausg.), 9, Sept. 1978, S. 47-54, 56.
Rasner, Heinz-Gerd / Wulf, Reinhard: Interview
mit Billy Wilder. In: Fernseh- und Kino-Technik 24,
Febr. 1980, S. 92-97.
Shavelson, Melville: The writer speaks: Billy Wilder. In: The Journal: Writers Guild of America, West,
8, Nov. 1995, S. 38-39.
Trueba, Fernando: El cine de los noventa. In: El
Amante Cine, 52, June 1996, S. 18-21.
Career interview with Billy Wilder
Turner, Adrian: Interview with I.A.L. Diamond. In:
Films and Filming, 332, May 1982, S. 16-21.
Wilder, Billy: Billy Wilder: interviews. Ed. by Robert Horton. Jackson: University Press of Mississippi 2001, xxxvii, 200 S. (Conversations with filmmakers series.).
Includes: The happiest couple in Hollywood / Lincoln
Barnett (3-14) -- Wilder seeks films "with bite" to satisfy "nation of hecklers" / Philip K. Scheuer (15-17)
-- Why not be in Paris? / Newsweek ( 18-20) -- Charming Billy / Richard Gehman (21-34) -- In Wilder's
wild west / Thomas Wood (35-37) -- The message in
Billy Wilder's FORTUNE COOKIE : "Well, nobody's
perfect ..." / Richard Lemon (38-59) -- Wilder--"Yes,
we have no naked girls" / Mark Shivas (60-63) -Broadcast to Kuala Lumpur / Vanessa Brown (64-69)
-- Apropos AVANTI! / Michel Ciment (70-80) -Shooting THE FRONT PAGE: two Damns and one
By God / Joseph McBride (81-88) -- "You used to be
very big." "I am big. It's the pictures that got small." /
Jon Bradshaw (89-98) -- Billy Wilder / Gene D. Phillips (99-109) -- Dialogue on film : Billy Wilder and
I.A.L. Diamond / The American Film Institute (121131) -- DOUBLE INDEMNITY: a policy that paid off
/ John Allyn (132-139) -- Going for extra innings / Joseph McBride and Todd McCarthy (140-160) -- A cynic ahead of his time / Stephen Farber (161-165) -The art of Billy Wilder / Michael Blowen (166-170) -Saul Bass and Billy Wilder in conversation / Pat Kirkham (171-181) -- An interview with Billy Wilder /
Burt Prelutsky (182-194).
Rev. (Flagg, Gordon) in: Booklist 98,17, 1.5.2002, S.
1497.
Walker, Elsie M. / Johnson, David T. (eds.): Conversations with directors: an anthology of interviews
from Literature/film quarterly. Lanham, Md.: Scarecrow Press 2008, xxv, 327 S.
Darin: Billy Wilder (S. 90-95).
American Film 1,9, July 1976, S. 33-48.
Interview with Wilder and I.A.L Diamond on their
collaborations and an introduction to their work.
Cahiers du Cinéma 23,134, Aug. 1962.
Long discussions with Wilder plus detailed filmography.
Cinémonde, 1385, 21.2.1961, S. 12.
Deutsche Film Kunst, 8, Aug. 1961, S. 285.
Interview with Wilder on his visit to East Germany.
Deutsche Filmkunst (Berlin, DDR) 9,12, Dez. 1961,
S. 122-124.
Special supplement: long interview with Wilder.
Filmkritik, 278, Febr. 1980, S. 92-97.
Interview with Wilder in which he looks back over his
career.
Literature/Film Quarterly 4,1, Jan. 1976, S. 3-12.
Interview in which Wilder discusses his career and
films.
Literature/Film Quarterly 6,2, April 1978, S. 117124.
Interview with Wilder on DOUBLE INDEMNITY.
Positif, 84, May 1967, S. 44-45.
Digest of an interview in the Saturday Evening Post.
Positif, 210, Sept. 1978, S. 28-35.
Interview with Wilder on FEDORA.
Positif, 155, Jan. 1974, S. 3-8.
Interview with Wilder about the making of AVANTI!
Sight and Sound 46,1, Dec. 1976, S. 53.
Wilder discusses what he considers to be his recent
failures - The PRIVATE LIFE OF SHERLOCK HOLMES and AVANTI - and his hopes for his next film,
FEDORA.
Kollegen und Freunde über Wilder
McGilligan, Patrick: Irony. In: Film Comment 31,6 ,
Nov. 1995, S. 10-24.
Interview with screenwriter George Axelrod about his
life and career, particularly about his work with Marilyn Monroe, Billy Wilder, Jerry Wald, Frank Tashlin,
Johnny Frankenheimer and other directors and actors
Focus on Film, 11, Oct. 1972, S. 39-40.
Walter Newman talks about his collaboration with
Wilder.
Trauner, Alexandre. In: Positif, 224, Nov. 1979, S.
50-56.
The set designer Alexandre Trauner talks about his
work on many of Wilder's films.
Silverman, Stephen M.: Billy Wilder and Stanley
Donen. In: Films in Review 47,3-4, March-April
1996, S. 34-36.
Stanley Donen remembers ancedotes about Billy Wilder.
Zanussi, Krzysztof: Billy Wilder -- Edward Yang -My first visit to the cinema. In: Projections 4 1/2:
film-makers on film-making. In association with Positif. Ed. by John Boorman & Walter Donohue. London / Boston: Faber and Faber 1995, vii, 312 S.
(Projections.).
Analysen
Arecco, Sergio: „Non e vero che Parigi non dorme
mai“ ovvero la scena oscena dell'identita. In: Filmcritica: Rivista mensile di Studi sul Cinema 33, Aprile (=323) 1982, S. 137-145.
Asher, Jacqueline Colleen: Kept Boys: Scenes of
Masculine Dependency in American Literature and
Culture. Diss. University of California at Riverside,
2008.
Dazu: Dissertation Abstracts International, Section A:
The Humanities and Social Sciences 70,1, July 2009,
S. 179.
Austerlitz, Saul: Another fine mess: a history of
American film comedy. Chicago, Ill.: Chicago Review Press 2010, xv, 512 S. (An A Cappella Book.).
Darin: 12. Billy Wilder: "Nobody's Perfect!" (S.
139-150).
Bathrick, David: Billy Wilder's Cold War Berlin.
In: New German Critique 37,2 (=110), 2010, S. 3148.
The Hollywood director Billy Wilder was involved in
three postwar films about Germany: a twenty-two-minute documentary about the concentration camps titled
DEATH MILLS (1945) that he edited; the other two,
which he directed and coscripted, were the feature
films A FOREIGN AFFAIR (1948) and ONE, TWO,
THREE (1961). My focus is on what the production
and reception of these three films suggest about Wilder's evolving relationship to postwar Germany's coming to terms with its Nazi past, and how this evolution dovetails with, in part resists but also gives comedic articulation to, an emerging and then dominant
Cold War culture.
Bernardi, Sandro: Les incipit de Billy Wilder, la
machine et le double. In: Positif, 269/270, Juli/Aug.
1983, S. 29-33.
Ital. Original: Gli incipit di Billy Wilder: la macchina
e il doppio. In: Filmcritica: Rivista mensile di Studi
sul Cinema 33 (=329-330), Nov./Dez. 1982, S. 52935.
Bertolina, Gian Carlo: Miklos Rozsa e Billy Wilder: storia di una collaborazione. In: Filmcritica: Rivista mensile di Studi sul Cinema 33, Novv./Diz.
(=329/330), 1982, S. 594-602.
Bortolussi, Stefano: Wilder o il buco nero della comedy. In: Filmcritica: Rivista mensile di Studi sul
Cinema 34, Juli/Aug. (=335/336) 1983, S. 306-310.
Brook, Vincent: Viennese Twins: Billy and Willy
Wilder. In seinem: Driven to darkness. Jewish émigré directors and the rise of film noir. New Brunswick, N.J. : Rutgers University Press 2009, S. 124144.
Brown, Daniel: Wilde and Wilder. In: Publications
of the Modern Language Association of America
119,5, 2004, S. 1216-1231.
Curi, Umberto: L'immagine-pensiero - tra Fellini,
Wilder e Wenders. Un viaggio filosofico. Milano:
Mimesis 2009, 165 S. (Mimesis volti.).
Darin S. 117-132: Ecce Homo.
Dancyger, Ken: Billy Wilder: Existence at Stake. In
seinem: The Director's Idea. The Path to Great Directing. Amsterdam [...]: Elsevier [...] 2006, S. 162173.
Dancyger, Ken: The bigger picture: a consideration
of the influence of journalism and theatre on the feature length screenplay. In: Journal of Film and Video
42,3, 1990, S. 24-33.
Dzenis, Anna: Billy Wilder: The Chiarascuro Artist.
In: Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema,
20, May-June 2001, URL: http://sensesofcinema.com/2002/20/wilder-2/.
Fotsch, Paul Mason: Film Noir and Automotive
Isolation in Los Angeles. In: Cultural Studies - Critical Methodologies 5,1, Febr. 2005, S. 103-125.
This essay examines the emergence of a now dominant transportation system through the critical perspective of film noir. In the 1940s, Los Angeles began
redesigning itself to better accommodate the automobile. At the same time, two films by Billy Wilder provided a subtle critique of this accommodation. The criminality of DOUBLE INDEMNITY (1944) depends
on the same fantasy in technical rationality that legitimized highway planning. SUNSET BOULEVARD
(1950) mocks the planned obsolescence inspired by
the automobile industry. Both films depict the landscape created by cars as deeply isolating. The analysis of
T. W. Adorno & Max Horkheimer, who also lived in
Los Angeles at this time, is used to draw out the theoretical implications of Wilder's films & to further locate a pessimism toward the automobile lifestyle at the
time & place of its rise to power.
Gemunden, Gerd: Gained in translation: exile cinema and the case of Billy Wilder. In: The cosmopolitan screen: German cinema and the global imaginary, 1945 to the present. Ed. by Stephan K. Schindler
& Lutz [Peter] Koepnick. Ann Arbor, MI: University
of Michigan Press, 2007, S. 25-38 (Social History,
Popular Culture, and Politics in Germany.).
Gerard, Legrand: Le donne nelle commedie di
Wilder: fantasia e tenerezza. In: Filmcritica: Rivista
mensile di Studi sul Cinema 33, Nov./Dez.
(=329/330) 1982, S. 545-52.
Grande, Maurizio: Billy Wilder e lo spirito della
commedia ovvero: leleggi della sopravvivenza. In:
Filmcritica: Rivista mensile di Studi sul Cinema 33,
Nov./Dez. (=329/330) 1982, S. 581-93.
Hagin, Boaz: Death in classical Hollywood cinema.
Basingstoke / New York: Palgrave Macmillan 2010,
ix, 201 S.
Darin: Billy Wilder and Hollywood's "Auschwitz" (S.
108-119).
Horowitz, Joseph: Artists in exile: how refugees
from twentieth-century war and revolution transformed the American performing arts. New York: Harper 2008, xix, 458 S.
Darin: Inside operator: Billy Wilder.
Koch, Gertrud: Alle Sinnlichkeit der Macht. In:
Frauen und Film, 43, Dez. 1987, S. 5-12.
Meyers, Jeffrey: The genius and the goddess: Arthur Miller and Marilyn Monroe. Urbana: University
of Illinois Press 2010, xiii, 345 S.
Darin: 13. Billy Wilder and Yves Montand
(1958-1960) (S. 190-207).
Mirisch, Walter: I thought we were making movies,
not history. Madison, Wis.: University of Wisconsin
Press 2008, xvi, 449 S.
Darin: 9. William Wyler and Friendly Persuasion and
Billy Wilder and LOVE IN THE AFTERNOON (S.
78-83).
11. Billy Wilder and SOME LIKE IT HOT (S.
100-103).
29. Billy Wilder and THE PRIVATE LIFE OF SHERLOCK HOLMES and AVANTI! (S. 295-302).
Morris, George: Private films of Billy Wilder. In:
Film Comment 15, Jan. 1979, S. 33-39.
Munby, Jonathan: Heimat Hollywood: Billy Wilder, Otto Preminger, Edgar Ulmer and the Criminal
Cinema of the Austro-Jewish Diaspora. In: Good,
D.F. & Wodak, R. eds., From World War to Waldheim: Culture and Politics in Austria and the United
States. New York: Berghahn Books 1999, S. 138162.
Philips, Gene D.: Billy Wilder. In: Literature/Film
Quarterly 4,1, Winter 1976, S. 3-12.
Profiles film director Billy Wilder. Career background
of Wilder; Reputation of Wilder in film directing; Manifestation of the satirical intention of Wilder in his
films.
Phillips, Gene D.: Billy Wilder: the beautiful and
the damned. In seinem: Exiles in Hollywood: major
European film directors in America. Bethlehem:
Leigh University Press / London: Associated University Presses 1998, S. 177-217.
Rothman, William: Nobody's Perfect. Billy Wilder
and Postwar American Cinema. In: Film international 1,1, 2003, S. 36-47.
Repr.: Nobody‘s Perfect: Billy Wilder and Postwar
American Cinema. In seinem: The "I" of the camera.
Essays in film criticism, history, and aesthetics. 2nd
ed. Cambridge (UK)/New York: Cambridge University Press 2004, ch. 16, S. 177-205.
Zuerst 1988.
Sikov, Ed: Billy Wilder's World War II. In: War, Literature, and the Arts 11,2, 1999, S. 180-190.
Sikov, Ed: Billy Wilder and the American Dream. In
seinem: Laughing hysterically. American screen comedy of the 1950s. New York: Columbia University
Press 1994, S. 88-149.
Sklar, Robert: Billy Wilder. In: Framework: The
Journal of Cinema & Media, 5, Winter 1976/77, S.
17ff.
The article reports on the themes and characters employed by Billy Wilder in his screenplay writing career in film industry. Billy Wilder's images and pictures
in films are built on the theme of redemption by ordeal. His themes attack the philosophy of materialism
and the growth of humane set of values in reaction to
local cultural attitudes. His leitmotif in screenplay writing is the intersection of innocence and cynicism. Billy Wilder's protagonists are motivated by a material
ambition and face crisis of conscience. Some of Billy
Wilder's works are the AVANTI!, THE APARTMENT,
and A FOREIGN AFFAIR.
Smedley, Nick: A divided world. Hollywood cinema
and emigré directors in the era of Roosevelt and
Hitler, 1933-1948. Bristol (UK)/Chicago: Intellect
2011, 277 pp.
Darin: Case study 2: Sex, violence and alcohol: Billy
Wilder in the 1940s -- Case study 6: 'As corruptible as
the others': Wilder on America and Europe.
Online: http://site.ebrary.com/lib/alltitles/docDetail.action?docID=10465925.
Smith, Dina M.: Global Cinderella: Sabrina (1954),
Hollywood, and postwar orphan Europe can be seduced by American assistance. In: Cinema Journal
41,4, Aug. 2002, S. 27-51.
On the discourses on U.S. postwar foreign policy that
have found their way into Hollywood fare, particularly
Billy Wilder's Cinderella films, such as SABRINA
(1954). ...
Steinle, Matthias: "no one ever dies" - Burleske und
Tod. In: Augenblick. Marburger Hefte zur Medienwissenschaft, 43, 2008, S. 41-52.
Vandaele, Jeroen: "Funny Fictions": Francoist
Translation Censorship of Two Billy Wilder Films.
In: The Translator. Studies in Intercultural Communication 8,2, 2002, S. 267-303.
Kleinere Artikel
Adair, Gilbert: Billy Wilder bewildered. In: Sight
and Sound 46,1, Winter 1976/1977, S. 52-53.
Allen, Tom: Bracketting Wilder. In: Film Comment
18, May/June 1982, S. 29-31.
Alonso Quintás, Enrique: Anotaciones acerca de Billy Wilder. In: Vértigo, 1, Dic. 1991, S. 13-21.
Althen, Michael: Billy Wilder, so hat er es gemacht.
In: Frankfurter Allgemeine Zeitung, 22.6.2006.
Andrés Dulce, José: Italia como emoción. In: Nickel
Odeon: revista trimestral de cine, 10, Primavera
1998, S. 70-75.
Anon.: Funny Pictures. In: DGA Quarterly 5,2, July
2009, S. 66-73.
Stills showing directors working on comedy films.
Anon.: Wilder hailed by cinematographers. In: The
Hollywood Reporter 315,9, 20.11.1990, S. 3, 83.
The American Society of Cinematographers will honour Billy Wilder on 19th February 1991. Note of his
other awards.
Anon.: Billy Wilder. In: World Film Directors. 1.
1890-1945. Ed. by John Wakeman. New York: Wilson 1987, S. 1206-1210.
Anon.: The Imagemakers: reminiscences and reflections on the art of filmmaking. In: American Film
10, June 1985, S. 22-28+, 97-101+.
Anon.: Billy (Billie) Wilder - Regisseur, Autor, Produzent. In: CineGraph, 29, Billy-Wilder-D1-D9.
Anon.: Rome's Billy Wilder retro features all pix,
primal prints. In: Variety 307, 16.6.1982, S. 40.
Anon.: On miert keszit filmeket? In: Filmvilag
30,11, 1987, S. 52-58.
Anon.: Billy Wilder, screenwriter. In: Newsweek
123, 3.1.1994, S. 27.
Anon.: Wilder honored by native Austria. In: The
Hollywood Reporter 316,42, 28.3.1991, S. 6.
Anon.: Billy Wilder at 85: Still giving folks'something to hang onto... In: The Hollywood Reporter
318,2, 21.6.1991, S. 12, 56.
A tribute to the director on his 85th birthday, outlining
his life and career including an interview with him.
Anon.: Billy Wilder honor from Film Institute. In:
Variety 321, 30.10.1985, S. 6+.
Anon.: Capricho Wilder. In: Nickel Odeon: revista
trimestral de cine, 10, Primavera 1998), S. 114-115.
Armstrong, Richard: Billy Wilder. [Great Directors:
A Critical Database.] In: Senses of Cinema, online.
Arnold, Frank: Der zynische Romantiker im Hollywood-Exil. In: Film-Korrespondenz (Köln) 26,2,
Febr. 1980.
Asper, Helmut G.: Ein Straßenfilm. In Vergessenheit
geraten: Billy Wilders erste Filmregie MAUVAISE
GRAINE. In: FilmDienst 59,18, 31.8.2006, S. 1416.
Asselberghs, Herman: Billy Wilder, 1933-48, USA.
In: Andere Sinema, 101, Jan./Febr. 1991, S. 11-14.
Balletbò-Coll, Marta: Wilder y Dietrich, tal para
cual. In: Nickel Odeon: revista trimestral de cine,
10, Primavera 1998, S. 66-67.
Bart, Peter: H‘wood‘s Wilder moments. [Appreciation for director Billy Wilder.] In: Variety 362,12,
22.4.1996, S. 6-7.
On the eve of his 90th birthday, the influential movie
director Billy Wilder is appreciated for his many great
films, several of which Hollywood has unsuccessfully
tried to remake. Wilder was at the height of his creativity in the 1940s and '50s with such films as SABRINA and THE APARTMENT.
Bazleh, Shirin: Billy Wilder: Filmmaking is a lifeshortening business. In: Film International 1,2, May
1993, S. 49-51.
Beek, Sandra van: Billy Wilder. In: Skoop 18, Juni
1982, S. 5.
Bert, Kari: Billy Wilder. In: Film en Televisie + Video, 258, Nov. 1978, S. 10-15.
Bertoni, Aline: Retrocritic: Billy Wilder ou "la vulgarité congénitale". In: Revue du Cinéma, 422, Déc.
1986, S. 41.
Beylie, Claude: Frank, Douglas, Orson et les autres.
In: Cahiers du Cinéma, 319, Janv. 1981, S. 40-43.
Bio-filmographie de Billy Wilder. In: L'Avant-Scène
Cinéma, 216, 15.11.1978, S. 58.
Brackertt, Charles: A Matter of Humour. In: Quarterly of Film Radio and Television 7,1, Oct. 1952, S.
58.
Brown, Georgia: Something Wilder. In: The Village
Voice 36, 14.5.1991, S. 54.
Brown, May Wale: Reel life on Hollywood movie
sets. Riverside, CA: Ariadne Press 1995, viii, 225 S.
Darin: 10. Billy Wilder: Director, THE APARTMENT,
1-2-3 (S. 59-66).
Bruno, Edoardo: La ricerca di Edipo. In: Filmcritica: Rivista mensile di Studi sul Cinema 33,
Nov./Dec. (=329/330) 1982, S. 525-528.
Bulnes, Jose: Les immortels du cinéma: Billy Wilder. In: Ciné-Télé-Revue 63, 29.12.1983, S. 24-27.
Callenbach, Ernest: O.T. In: Film Quarterly 23,1,
Autumn 1969, S. 61-62.
Canby, Vincent: Critic's notebook: the wonders of
Wilder, the movies' master wit. In: The New York Times 140, 10.5.1991, S. C1+.
Canby, Vincent: Bons mots of a master. In: The New
York Times 140, 10.5.1991, S. C32.
Cappabianca, Alessandro: Il paradosso dei Nomi e
dei Corpi. In: Filmcritica: Rivista mensile di Studi
sul Cinema 33 Nov./Dec. (=329/330) 1982, S. 575580.
Cappabiance, A.: Wilder. In: Current Biography,
1984.
Carcassonne, Philippe / Fieschi, Jacques: Les éxiles.
In: Cinématographe, 65, Febr. 1981, S. 15-19.
Carlo, Scarrone: Samuel (Billy) Wilder, ininterrottamente. In: Filmcritica: Rivista mensile di Studi sul
Cinema 33, Nov./Dec. (=329/330) (1982, S. 568574.
Carter, M.N.: Obsessions of Billy Wilder. In: Saturday Review 7, Dec. 1980, S. 60-64.
Castro Paz, José Luis: Algunas cuestiones sobre EL
APARTAMENTO y otros films de Billy Wilder. In:
Vértigo, N. 1, Dic. 1991, S. 29-31.
Cerisuelo, Marc: Certains l'aiment grinçant. In:
Télérama, 2825, 6.3.2004, S. 32-35.
On Billy Wilder's work, with reviews of some of his
films by contemporary French filmmakers, on the occasion of a retrospective of his work at the Cinématheque française.
Cerisuelo, Marc: Questions de mort ou de vie. Nonchalance et sublime ou le cinéma des adieux chez
Ford et Wilder. In: Positif, 511, 2003, S. 88-91.
Cieslar, Jiri: Billy Wilder a jeho umeni bavit divaka.
In: Film a Doba 22, Dec. 1976, S. 684-693.
Ciment, Michel. In: Positif, 120, Oct. 1970, S. 5-17.
Ciment, Michel: Sept réflexions sur Billy Wilder. In:
Positif, 127, Mai 1971, S. 1-21.
Ciment, Michel: Billy Wilder: trasparenza e pudore.
In: Filmcritica: Rivista mensile di Studi sul Cinema
33, Nov./Dec. (=329/330) 1982, S. 562-567.
Ciment, Michel. Billy Wilder. In: Positif, 269/270,
Juli/Aug. 1983, S. 8-14.
Ciment, Michel: Billy Wilder urbi et orbi. In: Positif, 269/270, Juli/Aug. 1983, S. 4-7.
Ciment, Michel: Note bibliograpique. In: Positif,
269/270 Juli/Aug. 1983, S. 54.
Clarke, Gerald: Portrait: Billy Wilder. In: Architectural Digest 51, April 1994, S. 22-23.
Cobos, Juan: Un clásico, un raro y un moderno.
Aquí un amigo. In: Nickel Odeon: revista trimestral
de cine, 10, Primavera 1998, S. 192-195.
Columbus, Chris: Wilder times. In: American Film:
a Journal of the Film and Television Arts 11, March
1986, S. 22-28.
Combs, Richard: Billy Wilder's comedy of excess.
In: Listener 116,2991, 18.12.1986, S. 65.
Contenti, Fulvio: Billy Wilder: la morale del doppio.
In: Filmcritica: Rivista mensile di Studi sul Cinema
33, Nov./Dec. (=329/330) 1982, S. 613-614.
Corliss, Richard: Talking pictures. Screenwriters in
the American cinema 1927-1973. Preface by Andrew
Sarris. Woodstock, NY: Overlook Press 1974, xxviii,
398 S.
Couchman, Jeffrey: A pair of aces. [...] In: American
Cinematographer 84,3, March 2003, S. 78-80, 82,
84-86.
On the collaboration between Billy Wilder and John F.
Seitz, ASC and their films, particularly FIVE GRAVES TO CAIRO, dOUBLE INDEMNITY, THE
LOST WEEKEND, and SUNSET bOULEVARD.
Cremonini, Giorgio: Frutto proibito di Billy Wilder.
In: Cineforum 33, Oct. (=328) 1993, S. 34-39.
Crespo de Lara, Pedro: La tentación vive arriba. In:
Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 142-145.
La crítica americana frente a Billy Wilder. In: Nickel
Odeon: Revista trimestral de cine, 10, Primavera
1998, S. 100-113.
Crowe, Cameron: Billy, how did you do it? In: Sight
and Sound 15,12, Dec. 2005, S. 5.
Crowe pays tribute to Billy Wilder, referring to The
APARTMENT and his concept of comedy.
Crowe, Cameron: The 'Wilder touch': both sweet and
sour. In: The New York Times, 7.4.2002, p. AR24.
Online: http://www.nytimes.com/2002/04/07/movies.
Auch in: Empire, 157, July 2002, S. 100-102.
Dassanowsky-Harris, Robert: Billy Wilder's Germany. 1.2. In: Films in Review 41, May 1990, S. 292297; 41, June/July 1990, S. 352-355.
De Witt, Karen: Clinton confers awards on 18 cultural figures. In: The New York Times 143, 8.10.1993,
S. C3.
De Films die Billy Wilder niet maakte - Veel van
zijn filmplannen zijn blijven liggen, maar naar verluidt gaat Billy Wilder nog elke dag naar kantoor om
op nieuwe ideeën te broeden. In: Skrien 246, 2000,
S. 40-42.
D'Elia, Joe: Billy Wilder Speaks: The Wit and Wisdom of One of Hollywood's Most Acclaimed
Filmmakers. In: Library Journal 132,1, 1.1.2007, S.
159.
A review of the DVD release of the documentary BILLY WILDER SPEAKS.
Denby, David: Always making wisecrackers. In:
Premiere 4, Nov. 1990, S. 48, 52.
Diamond, I.A.L. In: American Film: a Journal of
the Film and Television Arts 1, July/Aug. 1976, S.
33-48.
DiMare, Philip C. (ed.): Movies in American history: an encyclopedia. 1.2.3. Santa Barbara, Calif.:
ABC-CLIO 2011, lx, 1232 S.
Darin: Wilder, Billy (S. 858--861); Filme: DOUBLE
INDEMNITY (S. 134-136); SUNSET BLVD. (S.
478-479).
Doherty, Thomas: Billy Wilder: Ready for a CloseUp. In: Chronicle of Higher Education 47,10,
3.11.2000, S. B18-19.
Dunne, John Gregory: The Old Pornographer: Billy
Wilder Is Hollywood's Cleverest Moralist. In: The
New Yorker 75,33, 8.11.1999, S. 88-96.
Elley, Derek: You did not try to improve it. In: Variety 351, 19.7.1993, S. 44.
Errigo, Angie: Billy Wilder. In: Empire, 208, Oct.
2006, S. 170-173.
The results of an online debate by the reader's of Empire magazine about the filmmaker Billy wilder. Includes a breakdown of the opening scene of SUNSET
BOULEVARD.
Errigo, Angie: Video directory. In: Empire, 13, July
1990, S. 78-80.
Eyquem, Olivier: Biofilmographie de Billy Wilder.
In: Positif, 269/270, Juli/Aug. 1983, S. 42-53.
Farber, Stephen: Wilder: a cynic ahead of his time.
In: The New York Times 131, 6.12.1981, sect. 2,
1981, S. 1+ [2p].
Farber, Stephen: The Films of Billy Wilder. In: Film
Comment 7,4, Winter 1971/72, S. 8-22.
Fava, Claudio G.: America difficile di Wilder. In:
Rivista del cinematografo 41,1, 1968, S. 64-65.
Fedas, Milos: Crazy nebo parodie? In: Film a Doba
34, Jan. 1988, S. 34-38.
Feiwell, Jill: Wilder's Oscars given to Acad. In: Daily Variety 276,66, 4.8.2002, S. 5.
Reports that the widow of director Billy Wilder, Audrey Wilder, returned his Oscar statuettes to the Academy of Motion Picture Arts & Sciences, after the director's death in March 2002.
Flatley, Guy. In: The New York Times 125, 3.9.1976,
S. C6.
Freeman, David: SUNSET BOULEVARD revisited.
In: The New Yorker 69, 21.6.1993, S. 72-79.
Director Bill Wilder viewed his best-known film,
SUNSET BOULEVARD, for the first time since 1950,
on the occasion of the classic's adaptation as an Andrew Lloyd Webber musical. The film, Wilder's early
life and his much-maligned career are profiled.
Freer, Ian: bare necessities: no.25 Billy Wilder. In:
Empire, 90, Dec. 1996, S. 20.
French, Philip: Billy Wilder: Part One. In: National
Film Theatre Programmes, Nov. 2005, S. 16-21.
Part Two. In: National Film Theatre Programmes,
Dec. 2005, S. 10-13.
Garci, José Luis: Pal Billy. In: Nickel Odeon: revista
trimestral de cine, 10, Primavera 1998, S. 15-20.
Garcia, Santiago: Billy Wilder en video. In: El Cine
Amante 8, March (=84) 1999, S. 58.
García Martínez, José María: Música: experimentos
de física acústica con Billy Wilder. In: Nickel Odeon: revista trimestral de cine, 10, Primavera 1998, S.
201-204.
Gaston, R.: Billy Wilder at 80. In: Film Directions
8,31, 1986, S. 26.
Gay, Giacomo: La "regia inosservata" di Billy Wilder. In Ponte 19, 1963, S. 95.
Gehmann, Richard: Charming Billy: Hollywood‘s
hottest writer-director-producer, Wilder is the wildest. In: Playboy, 12, Dec. 1960, S. 69-70, 90, 145148.
Gelbart, Larry: Billy Wilder. In: Farewell, godspeed: the greatest eulogies of our times. Ed. by Cyrus Copeland. New York: Harmony Books 2003, S.
250-253.
Gérard, Legrand: Les femmes dans les comedies de
Wilder: fantaisie et tendresse. In: Positif, 269/270,
Juli/Aug. 1983, S. 34-39.
Giacci, Vittorio: Billy Wilder: viaggio in Italia. In:
Filmcritica: Rivista mensile di Studi sul Cinema
33,328. Oct. 1982, S. 506-507.
Giger, Bernhard: Düsteres und Heiteres. Notizen zu
Filmen von Billy Wilder. In: Zoom-Filmberater
28,14, 21.7.1976.
Gillett, John: 'Wilder in Paris'. In: Sight and Sound
26,3, Dec. 1956, S. 142.
Girlanda, Elio: Billy Wilder sul Tevere blu. In: Rivista del Cinematografo 55, June/Aug. 1982, S. 277.
Graaf, Paul van de: Van dansend paard tot elegante
petomaan. In: Skrien, 246, Sept. 2000, S. 40-42.
Grafe, Frieda: Geraffte Zeit. Filmartikel / Zeitungsund Buchbeiträge, Gespräche, ein Vortrag. Berlin:
Brinkmann & Bose 2005, 206 S. (Ausgewählte
Schriften in Einzelbänden. 8.).
Darin: „Er machte Schlagzeilen“ (zum 80.
Geburtstag).
Grbic, Bogdan: Fast Food, Coke & Hollywood. In:
Blimp: Zeitschrift für Film, 18, 1991, S. 55-57.
Grignaffini, Giovanna: Billy e Marilyn: la strana
coppia. In: Filmcritica: Rivista mensile di Studi sul
Cinema 33,329/330, 1982, S. 553-558.
Grob, Norbert: Das Ernste vor dem Lächerlichen. In:
Filmbulletin 27,4 (=143), 1985, S. 28-29.
Guerrini, Tito: Rez. In: Cinematografo, 2, Dec.
1951, S. 11.
Guilds pick Wilder for Sturges award. In: The Hollywood Reporter 319,7, 10.9.1991, S. 1, 64.
Billy Wilder wins the Preston Sturges Award from the
Directors Guild Of America and Writers Guild of
America.
Gullén Cuervo, Cayetana: Romantic Billy. In: Nickel
Odeon: revista trimestral de cine, 10, Primavera
1998, S. 68-69.
Harmetz, Aljean: At 73, Billy Wilder's bark still has
plenty of bite. In: The New York Times 128,
29.6.1979, S. C12.
Harmetz, Aljean: American Film Institute honors
Billy Wilder. In: The New York Times 135, 8.3.1986,
S. 13.
Harmetz, Aljean: Seven years without directing, and
Billy Wilder is feeling itchy. In: The New York Times
138, 3.10.1988, S. C21+.
Harmetz, Aljean: Billy Wilder: the storyteller. In:
Modern Maturity 36, Febr./March 1993, S. 31.
Harmetz, Aljean: Billy Wilder. The New York Times,
29.3.2002.
Harster, Hermann: Bei Billy hängen die Millionen
an der Wand. In: Constanze 20, 1969.
Hecht, Hans: Vom Wannsee nach Hollywood. In:
General-Anzeiger (Wuppertal), 15.10.1959.
Hesling, Willem: Billy Wilder. In: Andere Sinema,
101, Jan./Febr. 1991, S. 5-10.
Hesling, Willem: Billy Wilders regiedebuut bij Paramount (1). In: Film en Televisie + Video, 405, Febr.
1991, S. 26-29.
Hesling, Willem: Billy Wilders regiedebuut bij Paramount (2). In: Film en Televisie + Video, 406, March
1991, S. 26-29.
Hesling, Willem: Billy Wilders regiedebuut bij Paramount (slot). In: Film en Televisie + Video, 407,
April 1991, S. 28-31.
Higham, Charles: Cast a cold eye: the films of Billy
Wilder. In: Sight and Sound 32,2, Spring 1963, S.
83-87+.
Higham, Charles: Meet whiplash Wilder. In: Sight
and Sound 37,Winter 1967/68, S. 21-23.
Hitchens, Christopher: It happened on Sunset. In:
Vanity Fair 58, April 1995, S. 215-222.
Hollywood es mi Métier. Habla Billy Wilder. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 180-191.
Hommage à Billy Wilder. In: Cahiers du Cinéma,
568, 2002, 51-61.
Hommel, Michel: Billy Wilder. In: Skrien, 176,
Febr./March 1991, S. 43.
Horemans, Jos: Some like it Wilder! In: Film en Televisie + Video, 357, Febr. 1987, S. 39.
Hutter, Andreas: „Billy wer...?“ Ein Lokalaugenschein in Sucha, seinem Geburtsort in Polen. In:
Neue Zürcher Zeitung, 17.6. 2006.
Zum 100. Geburtstag.
Hutter, Andreas / Kamolz, Klaus: Billie und Barkassy. In: Profil, 40, 28.9.1992, S. 82-83, 85-86.
Hutter, Andreas / Kamolz, Klaus: Plötzlich ein Wiener. In: Profil, 19, 9.5.1994, S. 90-94.
Hutter, Andreas / Peters, Heinz: Gitla stand nicht auf
Schindlers Liste. In: Neue Zürcher Zeitung,
6..10.2011.
Kakutani, Michiko: Heart of a romantic, head of a
skeptic. In: The New York Times, 30.3.2002, S. A17B9.
Kakutani, Michiko: Billy Wilder honored at Lincoln
Center gala. In: The New York Times 131, 4.5.1982,
S. C9.
Karasek, Hellmuth: Der k.u.k. King von Hollywood.
In: Der Spiegel, 21, 19.5.1986, S. 192-198.
Auch in: Karaesks Kulturkritik. Literatur - Film Theater. Hamburg: Rasch und Röring 1988, S.46-55.
Karasek, Hellmuth: Salto mortale a hatodik emeletrol. In: Filmvilag 35,12, 1992, S. 44-49.
Karasek, Hellmuth: Meine Zeit mit Billy Wilder. In:
Die Welt, 22.6.2006.
Kasten, Jürgen: Maxim, Marilyn und all die anderen.
In: Filmbulletin 35,2 (=187), 1993, S. 8-9.
Kniebe, Tobias: Billy Wilder - "Du sollst nicht langweilen!" In: Süddeutshe Zeitung, 21.6.2006.
Koehler, Robert: Billy Wilder. In: Variety 387,8,
15.7.2002, Supplement, S. 24-.
Koll, Horst Peter: Shut up and deal... Umwege und
Abwege mit Billy Wilder. In: Film-Dienst 55,9,
2002, S. 8-11.
Kothenschulte, Daniel: Babelsberger Dämmerung.
In: Frankfurter Rundschau, 22.6.2006.
Krasnova, Gerena: Billi Uailder po prozvishchu
Lucky Billy. In: Iskusstvo Kino, 3, 1997, S. 160-163.
Kraus, Joseph: Billy Wilder. In: Deutsche Exilliteratur seit 1933. 1: Kalifornien. Hrsg. v. John Spalek
und Joseph Strelka. Bern: Francke 1976, S. 820-826.
Krusche, Dieter: Billy Wilder: „Ich habe keinen
Stil!“ In: Filmforum (Emsdetten) 2,4, Jan. 1953.
Repr. in: Frankfurter Rundschau, 13.1.1962.
L.R.: Bundesverdienstkreuz für eine Regie-Legende.
In: Film-Echo/Filmwoche, 11, 18.3.2000, S. 11.
Lang, G.O.: The mail: the wrong man. In: The New
Yorker 77, 12.11.2001, S. 16.
Leiser, Erwin: Billy Wilder. In seinem: Die Kunst ist
das Leben. Begegnungen. Köln: Kiepenheuer &
Witsch 1995, S. 86-96 (KiWi. 396.).
Leiser, Erwin: Chronist des "American Way of life".
Der Filmemacher Billy Wilder ist ein Meister der
Komödie und ein Moralist, der Unterhaltung bietet,
statt den Zeigefinger zu gebrauchen... In: Zoom
46,6-7, 1994, S. 6-9.
Leiser, Erwin: Der Klassiker: Billy Wilder. In:
Frankfurter Allgemeine Magazin, 604, 27.9.1991.
Lemon, Richard: Well, Nobody's Perfect... In: Saturday Evening Post 239,26, 17.12.1966, S 30.
Lemon, Richard: Regisseur mit Happy-End. In: Die
Weltwoche (Zürich), 1820, 27.9.1968.
Lieb, Rebecca: Peck, Wilder to bag Bears. In: Variety 350, 8.2.1993, S. 46.
Ligner, Jean-Marc: Billy Wilder ou l'objecteur de
mauvaise conscience. In: Cinémotion, 1, Nov. 1988,
S. 12-14.
Lima, Rafael: Grab 'em by the throat: Billy Wilder's
tips for screenwriters explained. In: Creative Screenwriting 16,2, March 2009, S. 45, 47-48.
Article discussing ten screenwriting tips given by Billy Wilder in a series of interviews with writer/director
Cameron Crowe.
Lopate, Phllip (ed.): American movie critics: an anthology from the silents until now. New York: Library of America 2006, xxvii, 720 S.
Repr., 2008.
Darin: Andrew Sarris: Billy Wilder (S. 306); Billy
Wilder reconsidered (S. 307-310).
Luft, Herbert G.: A Matter of Decadence. In: Quarterly of Film Radio and Television 7,1, Oct. 1952, S.
58.
Luft, Herbert G. / Brackett, Charles: Two Views of a
Director: Billy Wilder. In: Hollywood quarterly.
Film culture in postwar America, 1945-1957. Ed. by
Eric Smoodin and Ann Ma Berkeley. Cal./London:
University of California Press 2002, S. 370-380.
Luft, Herbert G.: Die stetige Karriere des Billy Wilder. In: Filmkunst: Zeitschrift für Filmkultur und
Filmwissenschaft, 100, März 1984, S. 27-33.
Lumme, Helena / Manninen, Mika (eds.): Screenwriters: America's storytellers in portrait. Santa Monica, Calif.: Angel City Press 1999, 127 S.
Darin: Billy Wilder (S. 114f).
Marías, Miguel: Billy Wilder y los Alemanes. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 76-77.
Marías, Miguel / Sañudo, Margarita: Las diez mejores películas de Billy Wilder. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 8289.
Marías, Miguel: Isn‘t him romantic?. In: Nickel
Odeon: Revista trimestral de cine, 10, Primavera
1998, S. 34-35.
Marschall, Susanne: Billy Wilder. In: Filmregisseure. Biographie, Werkbeschreibungen, Filmographien. Hrsg. v. Thomas Koebner. Stuttgart: Reclam
1999, S. 752-758.
Martínez de Aguirre y Aldaz, Carlos: Wilder y el pesimismo. In: Nickel Odeon: Revista trimestral de
cine, 10, Primavera 1998, S. 60-63.
Maslin, Janet: Film view: missing the many moods
of the durable Billy Wilder. In: The New York Times
131, 16.5.1982, sect. 2, 1982, S. 21+.
Mason, M.S.: Billy Wilder's sophisticated touch. In:
Christian Science Monitor 90,45, 30.11.1998, S. 15.
Reviews the public television documentary BILLY
WILDER: THE HUMAN COMEDY, narrated by
Walter Matthau.
McBride, Joseph: Private life of Billy Wilder. In:
Film Quarterly 23,4, Summer 1970, S. 2-9.
McBride, Joseph / McCarthy, Todd: Going for extra
innings. In: Film Comment 15, Jan. 1979, S. 40-48.
McCarthy, Todd: Life Achievement to Wilder. In:
Variety 322, 12.3.1986, S. 6+ [2p].
Zur Verleihung des AFI-Awards.
McCarthy, Todd: Lauded by Academy, he's even
Wilder at 93. In: Variety 377, 17.1.2000, S. 4.
McCarthy, Todd: Even wilder at 93. In: Daily Variety 266,31, 17.1.2000, S. 24.
McDonnell, Patrick: A Wilder 100. In: Cinema Business, 20, Dec. 2005, S. 40.
McGilligan, Patrick: Irony. In: Film Comment 31,
Nov./Dec. 1995, S. 10-14+ [12p].
McMahon, Gary: Articles: Nostalgia over Berlin. In:
Film International 7,3, May 2009, S. 6-12.
Discusses the 'retrograde fascination' and nostalgia of
German films pre and post reunification. Highlights
films and filmmakers.
McVay, Douglas. In: Films and Filming 6,4, Jan.
1960, S. 11.
Méndez-Leite, Fernando: Kim Novak, Billy y Polly
la Bomba. In: Nickel Odeon: Revista trimestral de
cine, 10, Primavera 1998, S. 78-82.
Millar, Gavin: Billy Wilder. In: Cinema: A Critical
Dictionary. Ed. Richard Roud. London: Secker &
Warburg 1980, S. 1081-1087.
Moffat, Ivan: Paramountin viidennessa kerroksessa.
In: Filmihullu, 3, 1984, S. 21-23.
Moore, James: Billy Wilder. In: Morsberger, Robert
E. / Lesser, Stephen O. / Clark, Randall (eds.): American Screenwriters. Detroit, Mich.: Gale 1984, S.
332-340.
Morris, G.: The private films of Billy Wilder. In:
Film Comment 15, Jan./Febr. 1979, S. 33-39.
Muñoz Molina, Antonio: Unas gafas de Pla. Madrid: Aguilar 2000, 322 S. (Colección Crisol. Serie
Especial. 63.).
[Miniaturbuch] Darin: La voz de Billy Wilder.
Myrsine, Jean: Un bovaryste à Hollywood (Billy
Wilder) In: Cahiers du cinéma 2,11, April 1952, S.
31.
Nangle, John: Rez. [zu dem TV-Film: BILLY WILDER SPEAKS]. In: Classic Images, 381, March
2007, S. 37.
Nemeskörty, Ivàn: Billy Wilder. In seinem: A filmmuveszet nagykorusaga. Budapest: Gondolat 1966,
S. 328-353.
Niehoff, Karena: Die hohe Schule des Filmkammerspiels. In: Der Tagesspiegel, 24.11.1957.
Repr. als: „Schnoddriges am Sunset Boulevard. In:
Karena Niehoff: Stimmt es - stimmt es nicht. Herrenalb: Erdmann 1962.
Onosko, Tim: Billy Wilder. In: Velvet Light Trap: A
Critical Journal of Film & Television, 3, Winter
1971/72, S. 29-32.
The article discusses screenwriter Billy Wilder and
highlights various points in his career. Wilder is famous for his ability to capture the issues of society
and imbue them with laughter. In SABRINA, THE
APARTMENT he touches on suicide; DOUBLE INDEMNITY, SUNSET BOULEVARD deals with murder. Wilder seamlessly intertwines film and reality
with the bartering of human lives in ACE IN THE
HOLE and transvestism in SOME LIKE IT HOT. In
KISS ME, STUPID and ONE, TWO, THREE, he touches on financial double-dealing and adultery.
Ophuls, M.: Letters ...or: is he? In: American Film:
a Journal of the Film and Television Arts 12, Dec.
1986, S. 6+.
Patar, Benoit: Billy Wilder par Jerome Jacobs. In: 24
Images, 39/40, Fall 1988, S. 119.
Pichler, Ölwin H.: Some Like It Black. In: Blimp:
Zeitschrift für Film, 18, 1991, S. 51-54.
Pisoni, Roberto: „Sono un uomo delicato“: piccolo
dizionario wilderiano. In: Close-up: Storie della Visione 2,4, 1998, S. 11-18.
Poague, Leland: Some versions of Billy Wilder. In:
Cinemonkey: a serious film journal 5,1 (=16), 1979,
S. 6-10.
Poague, Leland: Wilder & McCarey. San Diego, Cal.
[...]: Barnes [...] 1980, 319 S. (The Hollywood professionals. 7.).
Rev. (Desser, David) in: Post Script: Essays in Film
and the Humanities 1,3, 1982, S. 54-56.
Rev. (Magny, Joel) in: Cinéma 81 C81,270, Juin 1981,
S. 153-154.
Marías, Miguel: El Billy Wilder de Leland A. Poague.
In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 198-199.
Porges, Friedrich: Billy Wilder - 60 Jahre. In: Aufbau, 25, 24.6.1966, S. 30.
Prossnitz, Gisela: Billy Wilder zum 80. Geburtstag.
In: Parnass. Kunstmagazin, 3, 1986, S. 19.
Quiroga Valcarce, Luis M.: Un Humanista europeo
en Hollywood. In: Vértigo, N. 1, Dic. 1991, S. 2628.
Reijnhoudt, Bram: Een brein gevuld met scheermesjes. In: Skoop 27, Febr. 1991, S. 22-27.
Relling, William, Jr.: A Walk on the Wilder Side:
Billy Wilder and the Hollywood Noir Mainstream.
In: Mystery Scene, 58, 1997, S. 35-37.
Über subversiven Umgang mit Genre-Konventionen.
Repr. in: The Big book of noir. Ed. by Lee Server, Ed
Gorman & Martin H. Greenberg. New York: Carroll &
Graf 1998, S. 37-40.
Robbins, J.: Wilder bites the hand that barely feeds
him at Lincoln Center gala. In: Variety 307,
5.5.1982, S. 4.
Roberts, Jerry: Billy Wilder's double indemnities. In:
Variety‘s On Production 6,3, 1997, S. S-8 (insges. 3
S., zwischen den Heftseiten 30 und 63).
Rocha, María Victoria de la: La mujer en Billy Wilder. In: Nickel Odeon: Revista trimestral de cine, 10,
Primavera 1998, S. 52-56.
Rodríguez Marchante, Oti: 'Hay alguien perfecto? .
In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 57-59.
Rubio, Miguel: El cineasta de la inteligencia. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 21-33.
Salina, Francesco: Gli oggetti di Narciso. In: Filmcritica: Rivista mensile di Studi sul Cinema
33,329/330, 1982, S. 544.
Sarris, Andrew: Films in focus: western movies. The
Village Voice 31, 1.7.1986, S. 71.
Sarris, Andrew: Films in focus: Billy Wilder and the
Holocaust. In: The Village Voice 27, 4.5.1982, S. 57.
Sarris, Andrew: Why Billy Wilder belongs in the
Pantheon. In: Film Comment 27, July/Aug. 1991, S.
9-14.
Sarris, Andrew: Films in focus: pieces of my mind.
In: The Village Voice 27, 18.5.1982, S. 53.
Sarris, Andrew: Billy Wilder: closet romanticist. In:
Film Comment 12, July/Aug. 1976, S. 7-9.
Sarris, Andrew: Films in focus: cinema and its discontents. In: The Village Voice 32, 13.1.1987, S. 57.
Sarris, Andrew. In: Film Comment 12,4, July 1976,
S. 7-9.
Andrew Sarris traces and discusses the critical treatment of Wilder's early films.
Sarris, Andrew: You ain't heard nothin' yet: the American talking film: history & memory, 1927-1949.
New York: Oxford University Press 1998, x, 573 S.
Darin: The Directors [...] Billy Wilder (S. 327-331).
Schlöndorff, Voker: Nobody is perfect! In: Süddeutsche Zeitung, 20.6.1991.
Repr. in: Blimp: Zeitschrift für Film, 18, 1991, S. 4446.
Schlöndorff, Volker: Reporter, Spaßmacher, Moralist: Billy Wilder, dem großen Regisseur, zum 100.
Geburtstag. In: TAZ, 22.6.2006.
Schnauber, Cornelius: Billy Wilder - Ein Portrait. In:
Blimp: Zeitschrift für Film, 18, 1991, S. 46-50.
Schulberg, Stuart: A Communication: A Letter about
Billy Wilder. In: The Quarterly of Film Radio and
Television 7,4, Summer 1953), S. 434-436.
Seeßlen, Georg: Die Filme von Billy Wilder. In: epd
Film, 7, 1996, S. 18-27.
Seeßlen, Georg: Billy Wilder. In: epd Film, 7, 1988,
S. 8-9.
Seitz, John: A Pair of Aces - John Seitz, ASC proved
to be an ideal cinematographer for director Billy. In:
American Cinematographer 84,3, 2003, S. 78-86.
Sereni, Vittorio: Punto e pretesto su Billy Wilder. In:
Aut aut 3, 1951, S. 270.
Sikov, Ed: Something Wilder. Remembering Billy
Wilder, the director who conquered Hollywood with
such films as DOUBLE INDEMNITY, SOME LIKE
IT HOT, and THE APARTMENT - and stole moviegoers' hearts. In: Premiere, 2002, S. 38-43.
Profile of the legendary writer-director Billy Wilder,
looks at his childhood and career.
Sikov, Ed: A Home for Billy Wilder. In: Architectural Digest 65,11, Nov. 2008, S. 94ff.
The article focuses on the interior decoration and architectural design of a home that was designed for motion picture director Billy Wilder and his wife, Audrey
by Charles and Ray Eames, and which was never
built.
Silverman, Stephen M.: Billy Wilder and Stanley
Donen. In: Films in Review 47,3-4, March-April
1996, S. 34-36.
Billy Wilder, writer and director of several movies, admires the works of famous American producer, director, and writer Stanley Donen, the recipient of the
1996 Billy Wilder award from the National Board of
Review. Donen has changed the directions of Hollywood musical movies. His musicals follow a storyline
instead of a mere mix of dance and chorus music, as is
seen in the musicals of the previous era. Donen made
movies with Fred Astaire and Gene Kelly, his SINGIN' IN THE RAIN being one of the best five movies.
Donen's experience with Billy Wilder is described.
Simon, John: Belt and Suspenders. In: Theatre Arts
46,7, July 1962, S. 20.
Simsolo, Noel: Notes On Billy Wilder. In: Image et
Son, 282, Mars 1974, S. 21-48.
Spiller, David: A world of Wilder. In: London Magazine, June 1968, S.76-82.
Stadelmeier, Gerhard: Der Prinz auf der Pointe. In:
Frankfurter Allgemeine Zeitung, 22.6.1996.
Starkmann, Alfred: Billy Wilder: Es läuft ein großes
Drama über die Bühne. In: Die Welt, 27.12.1989, S.
7.
Steen, M. F. (comp.): Celebrity death certificates.
Jefferson, N.C.: McFarland 2003, vi, 202 S.
Darin: Billy Wilder (S. 180).
Taylor, David: Billy Wilder. In: Punch, 267, JuliDez. 1974, S. 1081.
Tomicek, Harry: Ein Wiener aus Lemberg in Hollywood. Das Werk Billy Wilders. In: Neue Zürcher
Zeitung, 14.9.1978.
Torres-Dulce Lifante, Eduardo: Río Wilder. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 46-51.
Toumarkine, Doris: 41 Wilder films at Film Forum
retro. In: The Hollywood Reporter 317,11,
25.4.1991, S. 3, 38.
Traubner, Richard: Retrospectives in Berlin.In:
Films in Review 31, Aug./Sept. 1980, S. 419-422.
Turroni, Giuseppe: Stella di tenebra. In: Filmcritica:
Rivista mensile di Studi sul Cinema 33,323, Aprile
1982, S. 133-136.
Turroni, Giuseppe: Billy Wilder "artista": dal surrealismo al concettuale. In: Filmcritica: Rivista mensile
di Studi sul Cinema 33,329/330, 1982, S. 539-543.
Tuska, Jon (ed.): Close-Up. The Hollywood Director.
Metuchen, NJ : Scarecrow Press 1978, IX, 444 S.
Darin: Billy Wilder, S. 1-32.
Valcárcel, Isabel: 1933, el año del miedo y cronología. In: Nickel Odeon: Revista trimestral de cine, 10,
Primavera 1998, S. 7-13.
Vandaele, J.: ‚Funny Fictions‘: Francoist Translation
Censorship of Two Billy Wilder Films. In: Translator (Manchester) 8,2, 2002, S. 267-302.
Vaske, Hermann: Billy Wilder. In seinem: Why are
you creative? Mit Kommentaren von Jeffrey K.
Zeig. [Übers.: Marion Kagerer.] Mainz: Schmidt
1999, S. 220-224 (Arte-Edition.).
Viani, Duccio: Foto di gruppo con fantasmi. L'incontro con le rovine della Germania in Wilder, Böll,
Rossellini. In: Incontri. Atti della Scuola Europea di
Studi Comparati, Pontignano, 1-8 settembre 2002. A
cura di Orsetta Innocenti. Firenze: Le Monnier 2004,
S. 282-292 (Quaderni di synapsis. 3.)/(Cartografie
dell'immaginario.).
Viviani, Christian: Black Billy. In: Positif, 269/270,
July/Aug. 1983, S. 40-41.
Volk, Stefan: "Red' nicht, zeig' es!" Billy Wilder
zum 100. Geburtstag. In: film-dienst 59,13, 2006, S.
14-15.
Waldekranz, Rune: Amerikansk Film. Stockholm:
Wahlström & Widstrand 1954, 306 S. (Svenskt
Filmbibliotek. 6.).
Wenk, Michael: Some Like It Wilder. Zum 90. Geburtstag von Billy Wilder. In: filmdienst 49,13, 1996,
S. 34-36.
Wenk, Michael: Ein Besuch beim alten Meister vom
Hollywood-Boulevard. Zum 100. Geburtstag des unvergleichlichen Drehbuchautors und Filmregisseurs
Billy Wilder. In: Neue Zürcher Zeitung, 17.6.2006.
Wilmington, Michael: Jack Lemmon. In: Film Comment 29, March/April 1993, S. 9-23.
Witte, Karsten: Auswärtige Affären. Billy Wilders
Filme. In seinem: Im Kino. Texte vom Sehen & Hören. Frankfurt: Fischer-Taschenbuch-Verlag 1985, S.
76-79 (Fischer-Taschenbuch. 4454.)/(Fischer-Cinema.).
Zuerst in: Frankfurter Rundschau, 19.3.1980.
Woodcock, John M.: The name dropper. In: The
American Screenwriter 39,4, 1989, S. 14-15.
Yarrow, Andrew L.: Billy Wilder decides to sell
some of his art collection. In: The New York Times
138, 30.8.1989, S. C19.
Young, Colin: The Old Dependables. In: Film Quarterly 13,1, Autumn 1959, S. 2-17.
Themenhefte / Sektionen:
Bianco e Nero 12,11/12, Nov. 1951.
Whole issue devoted to the work of Wilder including
'The Audacity Of Wilder' by Fernaldo Di Giammatteo
and the screenplay of SUNSET BOULEVARD.
Positif, 127, May 1971, S. 1-31.
General article on the director and his films with a dictionary of Wilder's catch phrases and a study of the
PRIVATE LIFE OF SHERLOCK HOLMES.
Dirigido Por.., 21, March 1975, S. 1-19.
Filmcritica, 329/330, Nov. 1982, S. 515-614.
Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998.
Positif, 269/270, July 1983, S. 2-55.
Various articles about Wilder and his work including
an interview with Wilder, critique and analysis of his
work, article on representations of women in his films
plus two articles written by Wilder.
Positif, 271, Sept. 1983, S. 24-52.
Part two of dossier on Wilder including an article on
Jack Lemmon in Wilder films and articles on MAUVAISE GRAINE, NINOTCHKA, SUNSET BOULEVARD, the SPIRIT OF ST. LOUIS, the APARTMENT, the FRONT PAGE and BUDDY, BUDDY.
Journal - Hommage à Billy Wilder. In: Cahiers du
cinéma, 568, 2002, 568, S. 51-61.
Braund, Simon: 19. Billy Wilder. In: Empire, July
2005, Supplement.
A special issue of Empire magazine devoted to the results of a readers-poll to find the twenty greatest film
directors of all time.
Nicht einzeln nachgewiesene Artikel:
The Picturegoer 21,842, 23.6.1951, S. 12.
Cahiers du Cinéma 2,11, April 1952, S. 31-35.
La Rassegna del Film 2,15, June 1953, S. 17.
The Film Daily 104,79, 22.10.1953, S. 7.
ABC Film Review 6,12, Dec. 1956, S. 15.
Sight and Sound, Winter 1956-57.
Die Wochen-Presse, 47, 23.11.1957, S. 1-2 (Filmregie: So gut, wie das Publikum will).
Sight and Sound 28,3/4, July 1959, S. 134.
Note on Wilder's visit to London.
Newsweek, 20.6.1960.
Time, 27.6.1960.
New York Times Magazine, 24.1.1960.
Guild News, 7, Jan. 1962, S. 22.
Sight and Sound 32,2, April 1963, S. 83-87, 103.
Holiday, June 1964.
Life, 11.12.1964.
Chaplin, 51, Dec. 1964, S. 389.
Film Comment 3,3, July 1965, S. 63.
Chaplin, 58, Nov. 1965, S. 396.
Griffith, 4, Jan. 1966, S. 11.
Die Presse (Wien), 19.6.1966 (Hans Winge).
Auch in: Neue Zürcher Zeitung, 25.6.1966.
Frankfurter Allgemeine Zeitung, 22.6.1966 (BJ =
Brigitte Jeremias).
Süddeutsche Zeitung, 22.6.1966 (s-y = Georg Salmony).
Saturday Review, 24.9.1966.
Saturday Evening Post, 17.12.1966.
Sight and Sound, Winter 1967.
Monthly Film Bulletin 34,407, Dec. 1967, S. 195196.
London Magazine, June 1968.
L'Avant-Scène du Cinéma, 83/84, July 1968, S. 86.
Sunday Express, 18.2.1968.
Cinema (London), 4, Oct. 1969, S. 14-21.
Wilder reappraised including interview with director.
Sight and Sound, Summer 1969.
Film Ideal, 220-221, Sept. 1970, S. 396-399.
Film Comment 6,4, Dec. 1970, S. 112.
Today's Cinema, 9789, 20.3.1970, S. 7.
Positif, Mai 1971.
Stuttgarter Zeitung, 21.6.1971 (Else Goelz).
Spandauer Volksblatt, 22.6.1971 (Arthur Zickler).
Film Comment 7,4, Dec. 1971, S. 8-22.
The major themes in Wilder's films.
Esquire, April 1972.
Listener, 19.12.1974.
Ecran, 35, April 1975; 36, May 1975, S. 93.
Sight and Sound, Winter 1976.
American Film 1,9, July 1976, S. 33-48.
Interview with Wilder and I.A.L Diamond on their
collaborations and an introduction to their work.
Neue Zürcher Zeitung, 17.6.1976 (Martin Schlappner).
Stuttgarter Zeitung, 18.6.1976 (Henning Harmsen).
Die Welt, 21.6.1976 (Sven Hansen).
Berliner Morgenpost, 22.6.1976 (-nz = Sieter
Strunz).
Die Presse (Wien), 22.6.1976 (Franz Manola).
Kölner Stadt-Anzeiger, 22.6.1976 (Hans C. Blumenberg).
Der Abend, 22.6.1976 (IB = Inge Bongers).
Der Tagesspiegel, 22.6.1976 (Wolfgang Stieler).
Süddeutsche Zeitung, 22.6.1976 (p.b. = Peter Buchka).
L'Avant-Scène du Cinéma, 216, 15.11.1978, S. 58.
Cinemonkey, 16, Jan. 1979, S. 6-10.
Article which posits a reappraisal of the director's
work against the traditional view of him as a Viennese
film noir cynic.
Film Comment 15,1, Febr. 1979, S. 33: Billy Wilder:
Twilight Time.
New Society, 2.8.1979.
American Film 4,4, Febr. 1979, S. 17-20.
Account of the trials and tribulations Wilder faced in
filming FEDORA.
Films in Review 31,7, Aug. 1980, S. 419-421.
Saturday Review, Dec. 1980.
Zur Retrospektive in Berlin.
Variety 298, 13.2.1980, S. 37+.
New York Times, 6.12.1981.
Film Comment 18,3, May 1982, S. 29-31.
Reappraisal of Wilder's screenwriting partnership with
Charles Brackett.
Filmcritica, 323, April 1982, S. 137-145.
Analysis of some of Wilder's films, their structure and
characters.
Ciné-Revue 63,52, 29.12.1983, S. 25-27.
Cinema Novo, 32, Nov. 1983, S. 27-33.
Filmkunst, 100, März 1984, S. 27-33.
Screen International, 483, 9.2.1985, S. 2.
The Hollywood Reporter 289,15, 25.10.1985, S.
1/46.
Wilder has been elected to receive the American Film
Institute's 1986 Life Achievement Award.
Film-Echo/Filmwoche, 11, 22.2.1986, S. 7.
Note that Wilder is to become a manager for United
Artists.
Film Directions 8,31, July 1986, S. 26.
The Hollywood Reporter 291,5, 10.3.1986, S. 1, 23.
Wilder receiving the American Film Institute's 14th
annual Life Achievement Award.
Film-Echo/Filmwoche, 31/32, 5.6.1987, S. 8.
Billy Wilder in Berlin.
American Cinematographer 72,1, Jan. 1991, S. 86.
Obiturarien
Billy Wilder's death signifies end of entire epoch in
Hollywood. In: ITAR/TASS News Agency, 29.3.2002,
p. 1.
Harmetz, Aljean: Billy Wilder, master of caustic
films, dies at 95. In: The New York Times, 29.3.2002,
S. A1, col. 2.
Göttler, Fritz. In: Süddeutsche Zeitung, 30.3.2002.
Kakutani, Michiko: Heart of a romantic, head of a
skeptic. In: The New York Times, 30.3.2002, S. A17,
col 1.
Knorr, Wolfram: Nobody is perfect oder die Welt als
Komödien-Hölle. In: Welt-Woche, 14, 2002.
Kothenschulte, Daniel. In: Frankfurter Rundschau,
30.3.2002.
Luken, Verena. In: Frankfurter Allgemeine Zeitung,
30.3.2002.
Nord, Cristina: An der Grenze von Schein und Sein.
In: TAZ, 31.3.2002.
Tomicek, Harry. In: Neue Zürcher Zeitung,
30.3.2002.
Gray, Timothy M. / Natale, Richard: Obituaries:
Wilder: Maestro of Movies: Immigrant to America
Made Quintessential U.S. Classics. In: Variety 386,7,
1.-7.4.2002, S. 73.
Honeycutt, Kirk / Byrge, Duane: Hollywood mourns
Wilder. In: Hollywood Reporter (International Edition) 372,42, 2.4.2002, S. 67ff.
Crowe, Cameron: The 'Wilder touch': both sweet and
sour. In: The New York Times, 7.4.2002, S. AR24,
col. 1.
Gordon, Devin: The King Behind the Camera. In:
Newsweek 139,14, 8.4.2002, S. 10.
Corliss, Richard: Kings of Comedy: Billy Wilder
1906-2002. His movies were joyfully sardonic and
still sparkle like champagne. In: Time 159,14,
8.4.2002, pp.70+.
Smith, Kyle: He Liked It Hot: From Sunset Boulevard to Stalag 17, subversive cinematist Billy Wilder
thrived as the wicked wit of the West. In: People
Weekly 57,14, 15.4.2002, S. 58+.
Lentz, Harris III: Obituaries. In: Classic Images,
323, May 2002, S. 62-63.
McBride, Joseph: Thank you, Mr Wilder. In: Written
By 6,5, May 2002, S. 16-18.
Kemp, Phillip: Billy Wilder. In: Sight and Sound
12,5, May 2002, p. 3.
Wilder had been described as the last great surviving film-maker of cinema's golden age.
TV Guide 50,52, 28.12.2002, S. 36.
Bourget, Jean-Loup: Hommage - Billy Wilder 19062002: Et maintenant, petît homme? In: Positif, 495,
2002, 495, S. 97-100.
Seidl, Claudius: Warum Billy Wilder uns alle überleben wird. In: Steadycam, 44, 2002, S. 27-31.
Einzelne Filme (in chronologischer
Folge)
Das folgende Verzeichnis listet die Filme, bei denen
Wilder Regie geführt hat, in chronologischer Folge
auf. Die Einträge sind nach dem Muster geordnet:
Drehbücher; Drehberichte; Analysen; kleine Artikel
und Rezensionen (=Rezensionen I); Artikel, die
nicht mit Verfasser und Titel nachgewiesen werden
konnten (Rezensionen II).
Mauvaise graine
Böse Saat
Frankreich 1934
Asper, Helmut G.: Ein Straßenfilm. In Vergessenheit
geraten: Billy Wilders erste Filmregie MAUVAISE
GRAINE. In: FilmDienst 59,18, 31.8.2006, S. 1416.
Chandler, Charlotte: Nobody's Perfect: Billy Wilder,
A Personal Biography. New York: Simon & Schuster 2002, S. 60-68.
Wimmer, Leila: "I Don't Have a Home!" Paris Interregnum in MAUVAISE GRAINE. In: Billy Wilder,
movie-maker. Critical essays on the films. Ed. By
Karen McNally. Jefferson, NC [...]: McFarland
2011, S. 161-177.
Rezensionen:
Nangle, John: Rez. In: Classic Images, 308, Febr.
2001, S. 25.
Positif, 271, Sept. 1983, S. 30-31.
Premiere 10,2, Oct. 1996,
The Major and the Minor
Der Major und das Mädchen
USA 1942
Analysen:
Bernardi, Sandro: Gli incipit di Billy Wilder: la macchina e il doppio. In: Filmcritica: Rivista mensile di
Studi sul Cinema 33, Nov./Dez. (=329/330), 1982, S.
529-535.
Giacci, Vittorio: Mascheramenti: (da una sequenza
di THE MAJOR AND THE MINOR). In: Filmcriti-
ca: Rivista mensile di Studi sul Cinema 33,
Nov./Dez. (=329/330) 1982, S. 536-538.
Rezensionen I:
D‘Allonnes, F.R.: Rev. In: Cinema 85, 334, 18.24.12.1985, S. 4.
Cremonini, Giorgio: Frutto proibito di Billy Wilder.
In: Cineforum 33, Oct. (=328) 1993, S. 34-39.
Crowther, Bosley: Rez. In: New York Times,
17.9.1942.
Denby, David: Wild and Wilder. In: New Yorker,
3.7.2006, S. 14.
Eisen, Sergio : Rev. In: El Cine Amante 8, Nov.
(=92) 1999, S. 54-55.
E.R.: Rez. In: Monthly Film Bulletin, 107, Nov.
1942.
Eyquem, O.: Rev. In: Positif, 305/306, Juli/Aug.
1986, S. 105-106.
Kael, Pauline: Rev. In: New Yorker 81,27, 12.9.2005,
S. 27.
Lardner, David: Rez. In: The New Yorker, 19.9.1942.
Lukas, Karli : Rev. In: Metro, 109, 1997, S. 53-54.
MacNab, Geoffrey: Billy Wilder Boxed Set. In:
Sight and Sound 17,1, Jan. 2007, S. 86.
Sklar, Robert: Rev. In: Variety Movie Reviews, 1,
1.1.1942, S. 37.
Rezensionen II:
Motion Picture Herald 148,9, 29.8.1942.
Newsweek, 7.9.1942.
Time, 28.9.1942.
Today's Cinema 59,4806, 25.11.1942.
Kinematograph Weekly, 1858, 26.11.1942.
Star: Settimanale di cinema e altri spettacoli 3,21,
1946, S. 8.
The Listener 114,2921, 8.8.1985, S. 33.
Positif, 305/306, July 1986, S. 105-106.
Cinema e cinema: Materiali di studio e di intervento
cinematografici 17,59, 1990.
Five Graves to Cairo
Fünf Gräber bis Kairo
USA 1943
Double Indemnity
Frau ohne Gewissen
USA 1944
Interview:
Phillips, Gene: Interview with Billy Wilder. In: Literature/Film Quarterly 4,1, Winter 1975.
literarische Vorlage:
Cain, James M.: Double indemnity. New York: Vintage Books 1992, 115 S.
Analysen:
Bertolina, Gian Carlo: Miklos Rozsa e Billy Wilder:
storia di una collaborazione. In: Filmcritica: Rivista
(=329/330) 1982, S. 594-602.
84-86.
Seitz, ASC and their films, particularly FIVE GRAVES TO CAIRO, DOUBLE INDEMNITY, THE
LOST WEEKEND, and SUNSET BOULEVARD.
Rezensionen I:
Crowther, Bisley: Rez. In: New York Times,
27.5.1943.
Danks, Adrian : Rev. In: Metro, 109, 1997, S. 54-55.
K.F.B.: Rez. In: Monthly Film Bulletin, 115,
31.7.1943.
Lardner, David: Rez. In: The New Yorker, 5.6.1943.
Santarelli, Giorgio: Rez. In: Rivista del cinematografo 25,7-8, 1952, S. 27
Saroni, Luciano: Rez. In: Rassegna del film: Mensile di cultura cinematografica 1,4, 1952, S. 36.
1.1.1943, S. 21.
Rezensionen II:
Time, 24.5.1943.
Today's Cinema 61,4899, 67.1943.
Today's Cinema 81,6815, 6.8.1953, S. 5.
Kinematograph Weekly, 2407, 13.8.1953, S. 18.
Zuerst 1935. Zahlreiche Ausgaben.
Dt.: Den Haien zum Frass. Kriminal-Roman. [Ins Dt.
übertr. von L. Overhoff.] Bergisch Gladbach: Lübbe
1979 157 S. (Bastei-Lübbe-Taschenbuch. 36020.).
Drehbuch:
Brackett, Charles / Wilder, Billy: DOUBLE INDEMNITY. In: Best film plays 1945. Ed. by John
Gassner and Dudley Nichols. New York, NY: Crown
Publ. 1946, S. 115-174.
Wilder, Billy: DOUBLE INDEMNITY. [The complete screenplay.] Berkeley [...]: University of California Press 2000, xvi, 123 S.
Ital.: LA FIAMMA DEL PECCATO. La sceneggiatura
completa. Di Raymond Chandler e Billy Wilder. Introduz. di Jeffrey Meyers. Roma: Elleu Multimedia 2004,
143 S.
Span.: PERDICIÓN. [Von] Billy Wilder, Raymond
Chandler, basado en un relato de James Cain. Prólogo
de Fernando Trueba. [Traducción Marta Heras.] Madrid: Plot 2004,142 S. (Tal cual: Biblioteca de textos
cinematográficos.).
Buchlange Studien:
Schickel, Richard: DOUBLE INDEMNITY. Repr.
London: BFI Publishing 2003, 72 S. (BFI film classics.).
Zuerst 1992. Repr. 1996.
Rev. (Ciment, Michel) in: Positif, 408, Févr. 1995, S.
75-77.
Rev. (Hendrykowski, Marek) in: Kino (Warszawa) 27,
Mai 1993, S. 39-40.
Rev. (Phillips, Julie) in: The Village Voice 37,
8.9.1992, Literary Supplement, 108, S. 8.
Rev. (Slide, Anthony) in: Classic Images, 210, Dec.
1992, S. 40-45.
Rev. (Hodsdon, Barrett) in: Media Information Australia, 68, May 1993, S. 113-114.
Rev. (Thompson, David) in: Sight and Sound 2,4, Aug.
1992, S. 42.
Filmprogramm:
Oetjen, Almut (Textverf./Hrsg.): DOUBLE INDEMNITY. Der Film Noir von Billy Wilder FRAU OHNE
GEWISSEN. Stuttgart: Wiedleroither 2001, (24) S.
(Filmprogramm. 300.).
Interviews:
Allyn, John: DOUBLE INDEMNITY: A policy that
paid off. In: Literature/Film Quarterly 6,2, 1978, S.
116-124.
Interview mit Billy Wilder. Zur Zusammenarbeit mit
Brackett am Drehbuch.
MacMurray, Fred: The Role I Liked Best? In: Saturday Evening Post 220,3, 19.7.1947, S. 74-.
Moffatt, Ivan: On the Fourh Floor of paramouundt.
Interview with Billy Wilder. In: The World of Ramond Chandler. Ed. by Miriam Gross. London: Weidenfeld and Nicolson 1977.
Analysen:
Aldarondo, Ricardo: La condesa descalza. Barcelona: Dirigido por [2000], 140 S.
Über THE BAREFOOT CONTESSA (Mankiewicz)
und DOUBLE INDEMNITY.
Armstrong, Richard: DOUBLE INDEMNITY: an
American tragedy. In: Audience, 193, Febr./March
1997, S. 10-13.
Armstrong, Richard: Lady in the Dark. In: Film
Journal 1,1, 2002.
Offers a sympathetic reading of the femme fatale figure in Billy Wilder's DOUBLE INDEMNITY.
Armstrong, Richard: Nineteen with a bullet (the 60th
anniversary of DOUBLE INDEMNITY). In: The
Film Journal (Ohio), 9, July 2004.
Arthur, Paul: Los Angeles as scene of the crime. In:
Film Comment 32, July/Aug. 1996, S. 20-26.
Bascara, Victor: The Case of the Disappearing Filipino American Houseboy: Speculations on DOUBLE INDEMNITY and United States Imperialism.
In: Kritika Kultura, 8, Febr. 2007, S. 54-89.
Studi sul Cinema 33, Nov./Dez .(=329/330), 1982, S.
529-535.
(=329/330) 1982, S. 594-602.
Biesen, Sheri Chinen: Censorship, Film Noir, and
DOUBLE INDEMNITY (1944). In: Film & History
25,1-2, 1995, S. 40-52.
Effectively working within the censorship restrictions
of the Production Code Administration and the physical limitations imposed by the Second World War,
DOUBLE INDEMNITY (1944) created a combination
of murder and sex that inspired many imitators and
helped initiate the film noir genre. [From ABC-CLIO
America: History and Life]
Biesen, Sheri Chinen: Raising Cain with the censors,
again: THE POSTMAN ALWAYS RINGS TWICE
(1946). In: Literature/Film Quarterly 28,1, 2000, S.
41-48.
Biesen, Sheri Chinen: Censorship and DOUBLE INDEMNITY: Adapting James M. Cain During the
War. In ihrem: Blackout. World War II and the origins of film noir. Baltimore: Johns Hopkins University
Press 2005.
Biltereyst, Daniel: Censorship, negotiation, and
transgressive cinema: DOUBLE INDEMNITY,
SOME LIKE IT HOT and other controversial movies in the USA and Europe. In: Billy Wilder, Moviemaker: Critical Essays on the Films. Ed. by Karen
McNally. Jefferson, NA: McFarland 2011, S. 145160 (Performing Arts/Film.).
Censorship, production and distribution problems of
Billy Wilder's key movies DOUBLE INDEMNITY
and Some Like it HOT and some other controversial
movies in the USA and Europe.
Boozer, Jack: The lethal femme fatale in the noir tradition. In: Journal of Film and Video 51,3-4, 1999,
S. 20-35.
Bronfen, Elisabeth; Femme fatale-negotiations of
tragic desire. In: New Literary History 35,1, Winter
2004, S. 103-116.
Repr. in: Felski, Rita (ed.): Rethinking Tragedy. Baltimore, MD: Johns Hopkins University Press 2008, S.
287-301.
The theme of fatal misrecognition, its consequences,
as well as a possibility of putting an end to their haunting, is discussed. The emergence of the femme fatale
in Billy Wilder's DOUBLE INDEMNITY, as the figure who accepts tragedy as an enactment of responsibility and not of fate, is examined. [Expanded Academic
Index]
Buchsbaum, Jonathan: Tame wolves and phony
claims: paranoia and film noir. In: Persistence of Vision: the Journal of the Film Faculty of the City
University of New York, 3/4, Summer 1986, S. 3547.
84-86.
Dussere, Erik: Out of the past, into the supermarket:
consuming film noir. In: Film Quarterly 60,1, 2006,
S. 16-27.
On the relationship between film noir and the American consumer culture, portraying the underside of the
American dream Looking at three films which feature
the supermarket: DOUBLE INDEMNITY, THE
LONG GOODBYE and FIGHT CLUB.
Frink, Alexandra: Die starken schönen Bösen. Mörderinnen im Film. Alfeld: Coppi-Verl. 1998, iv, 129
S., S. v-xiii. (Aufsätze zu Film und Fernsehen. 61.).
Gallagher, Brian: "I love you too": sexual warfare &
homoeroticism in Billy Wilder's DOUBLE INDEMNITY. In: Literature/Film Quarterly 15,4, 1987, S.
237-246.
Gravett, Sharon L.: Love and Hate in Film Noir:
DOUBLE INDEMNITY and BODY HEAT. In: The
Journal of the Association for the Interdisciplinary
Study of the Arts 1,1, Fall 1995, S. 177-185.
Grodal, Torben Kragh: Kærlighed og lyst: Filmromantik og filmpornografi set i lyset af den kognitive-evolutionære psykologi. In: Kosmorama 50,234,
Winter 2004, S. 7-28.
Psychological examination of the representation of sexuality in film. Discusses, among others, Stanley Kubrick’s EYES WIDE SHUT and Billy Wilder’s DOUBLE INDEMNITY.
Hillis, Ken: Film Noir and the American Dream: The
Dark Side of Enlightenment. In: The Velvet Light
Trap, 55, April 2005, S. 3-18.
Considers the connections between film noir characters and post-WWII American identity, suggesting that
noir protagonists reflect an existential awareness of
the impossibility of their own enlightenment & realising the American Dream.
Jeffrey, William D.: DOUBLE INDEMNITY: creation and destruction of a femme fatale. In: The Psychoanalytic Review 84,5, 1997, S. 701-715.
Johnston, Claire: DOUBLE INDEMNITY. In:
Kaplan, E. Ann (ed.): Women in Film Noir. London:
BFI; 1980, S. 100-111.
Kirtley, Malcolm: DOUBLE INDEMNITY. London:
Longman / York Press 2000, 88. S. (York Film Notes.).
Krutnik, Frank: Desire, transgression and James M.
Cain. In: Screen 23,1, 1982, S. 31-44.
Krutnik, Frank: In a lonely street. Film noir, genre,
masculinity. London [...]: Routledge 1991, xiv, 268
S.
Leitch, Thomas M.: DOUBLE INDEMNITY and
the Film Noir. In seinem: Crime films.
Cambridge/New York: Cambridge University Press
2002, S. 126-145.
Vgl. T.M.L. [= Thomas M. Leitch]: DOUBLE INDEMNITY (1936). In: The Encyclopedia of Novels
into Film. Ed. by John C. Tibbets & James M. Welsh.
New York: Facts on File 1998, S. 97-98.
Loyo, Hilaria: Subversive Pleasures in Billy Wilder's
DOUBLE INDEMNITY. In: Atlantis: Revista de la
Asociacion Espanola de Estudios Anglo-Norteamericanos 15,1-2, May-Nov. 1993, S. 169-190.
Manon, Hugh S.: X-Ray Visions: Radiography,
Chiaroscuro, and the Fantasy of Unsuspicion in Film
Noir. In: Film Criticism 32,2, Winter 2007/08, S. 227.
This article discusses the use of chiaroscuro lighting in
film noir motion pictures. The article explains that
chiaroscuro is the angular alternation of dark shadows
and stark fields of light across various on-screen surfaces. Examples of film that use this lighting are also
discussed, which include DOUBLE INDEMNITY, directed by Billy Wilder, THE DARK CORNER, directed by Henry Hathaway, and RAW DEAL, directed by
Anthony Mann. Other common film noir techniques
are discussed, which includes radiography and the fantasy of unsuspicion.
Manon, Hugh S.: Some Like It Cold: Fetishism in
Billy Wilder's DOUBLE INDEMNITY. In: Cinema
Journal 44,4, Summer 2005, S. 18-43.
Using psychoanalytic theory, the article explores the
fetishism in Billy Wilder's DOUBLE INDEMNITY,
particularly in the character of Walter Neff.
Marling, William: On the relation between American
roman noir and film noir. In: Literature/Film Quarterly 21,3, 1993, S. 178-193.
Maxfield, James F.: DOUBLE INDEMNITY. In seinem: The fatal woman: sources of male anxiety in
American film noir, 1941-1991. Madison, N.J./London: Fairleigh Dickinson University Press / Associated University Presses 1996, S. 26-36.
Mintz, Steven / Roberts, Randy: Postwar Hollywood. Introduction: DOUBLE INDEMNITY and
film noir.. In ihrem: Hollywood's America. United
States history through its films. St. James, N.Y.:
Brandywine Press 1993, S. 1-9.
Naremore, James: Straight-Down-the-Line: Making
and Remaking DOUBLE INDEMNITY. In: Film
Comment 32,1, Jan.Febr. 1996, S. 22-31.
Billy Wilder's DOUBLE INDEMNITY, one of the
most influential movies in Hollywood history, was originally filmed with a different ending. In the original
version of the film, which was adapted from the James
M. Cain novella, Walter Neff (Fred MacMurray) was
executed in a California gas chamber. This was a controversial way to end the movie, however, and Wilder
dropped it, feeling that an execution was "unnecessary." Neff's death in the gas chamber is an outgrowth of
several important motifs in the film, however, and it
crystallizes the full implication of those motifs. Without this scene, the film's critique of American modernity is blunted, the character played by Edward G.
Robinson seems less morally complex, and audiences
feel a bit more comfortable. [Art Index]
Naremore, James: More than night: Film noir in its
contexts. Upd. and exp. ed., Berkeley: University of
California Press 2008, xviii, 384 S.
Darin: Billy Wilder: DOUBLE INDEMNITY (S.
81-95 u. passim).
Naremore, James: La chambre de mort. In: Trafic,
27, Autumn 1998, S. 100-110.
Orr, Christopher: Cain, naturalism and noir. In: Film
Criticism 25,1, Fall 2000, S. 47-64.
The writer examines film noir and "hard-boiled" fiction as an expression of specific developments within
the naturalist tradition, focusing on film adaptations of
James M. Cain's novels THE POSTMAN ALWAYS
RINGS TWICE and DOUBLE INDEMNITY, and on
American remakes and adaptations of them. These novels, he explains, are based on a causal relationship
between sexual desire and criminal activity, a formula
that has been popular with naturalist writers since
Emile Zola. He goes on to discuss Tay Garnett's 1946
adaptation of POSTMAN, Bob Rafelson's 1981 adaptation of the same novel, Billy Wilder's 1944 adaptation of DOUBLE INDEMNITY, and Lawrence Kasdan's 1981 remake of it, BODY HEAT, exploring the
degree to which they signal either transformations in
naturalism or a move away from this tradition. He
concludes that the naturalist tradition has all but disappeared from the erotic crime film, a subgenre that
once offered an essential critique of the American
dream. [Art Index]
Orr, Christopher: Cain, naturalism, and noir. In:
Film Criticism 25,1, Fall 2000, S. 47-64.
Discusses, among others, Billy Wilder’s DOUBLE
INDEMNITY.
Osteen, Mark: Noir's Cars: Automobility and Amoral Space in American film noir. In: Journal of Popular Film & Television 35,4, Jan. 2008, S. 183-192.
Palao-Errando, Jose Antonio: La inquietante cercania del enigma: Amor y verdad en la trama policiaca.
In: Archivos de la Filmoteca, 17, 1994, S. 77-91.
On the motifs of love and truth in the detective film.
Discusses, among others, Billy Wilder’s DOUBLE
INDEMNITY, Otto Preminger’s LAURA and Fritz
Lang’s BEYOND A REASONABLE DOUBT.
Palmer, R. Barton: The divided self and the dark
city: film noir and liminality. In: Symploke 15,1/2,
2007, S. 66-79.
Pelizzon, V. Penelope / West, Nancy M.: Multiple
Indemnity: Film Noir, James M. Cain, and Adaptations of a Tabloid Case. In: Narrative 13,3, Oct. 2005,
S. 211-237.
Perry, Timothy Kevin: The dark world of film noir.
In: Filmfax, 93/94, Oct. 2002, S. 101-106, 131.
Analysis of 'classic film noir elements' referring to several movies in the genre, including DOUBLE INDEMNITY (1944).
Perucci, Tony: 'Pretty, Isn't It?': Adapting Film Noir
to the Stage. In: MacArthur, Michelle / Wilkinson,
Lydia / Zaiontz, Keren (eds.): Performing Adaptations: Essays and Conversations on the Theory and
Practice of Adaptation. Newcastle upon Tyne: Cambridge Scholars 2009, S. 73-85.
Phillips, Gene D.: Exiled in Babylon: Chandler's
Screenplays Lured: DOUBLE INDEMNITY. In seinem: Creatures of darkness. Raymond Chandler, detective fiction, and film noir. Lexington, Kent.: University Press of Kentucky 2000, S. 165-182.
Prigozy, Ruth: DOUBLE INDEMNITY: Billy Wilder's Crime and Punishment. In: Literature/ Film
Quarterly 12,3, 1984, S. 160-170.
Ross, Terrence: Updated noir: a comparison of
DOUBLE INDEMNITY and ONE FALSE MOVE
[1993]. In: Creative Screenwriting 2,1, April 1995,
S. 68-75.
A comparison of two noir films considering their different ways inhabiting the genre.
Rozgonyi, Jay: The Making of DOUBLE INDEMNITY. In: Films in Review 41, June/July 1990, S.
339-345.
Schroeder, Alan: Great dialogue scenes: sexual tension in DOUBLE INDEMNITY. In: Creative Screenwriting 5,1, Jan. 1998, S. 6-7.
An analysis of a scene between Fred MacMurray as
Neff and Barbara Stanwyck as Phyllis in DOUBLE
INDEMNITY which illus trates the highly-charged
eroticism of their conversation. The scene is the first
meeting between Neff and Phyllis.
Sennett, Robert S.: City streets, small lives: Hollywood’s America. In seinem: Setting the scene: The
great Hollywood art directors. New York: Abrams
1994, S. 46-65.
Discusses, among others, the work of Hans Dreier and
Hal Pereira for Billy Wilder’s DOUBLE INDEMNITY, Robert Peterson’s work for Fitz Lang’s THE BIG
HEAT, Patricia Norris’s work for David Lynch’s
BLUE VELVET and Anton Furst’s work for Tim Burton’s BATMAN.
Shumway, David R. : Disciplinary Identities; or,
Why Is Walter Neff Telling This Story?" In: Symploke: A Journal for the Intermingling of Literary, Cultural and Theoretical Scholarship 7,1-2, 1999, S.
97-107.
Repr. in: DiLeo, Jeffrey R. (ed.): Affiliations. Identity
in Academic Culture. Lincoln, NE: University of Nebraska Press 2003, S. 89-100.
Spiegel, Alan: Seeing Triple: Cain, Chandler and
Wilder on DOUBLE INDEMNITY. In: Mosaic: A
Journal for the Interdisciplinary Study of Literature
16,1-2, Winter-Spring 1983, S. 83-101.
Stevens, John M.: DOUBLE INDEMNITY and Miklós Rózsa: an appreciation. In: New Zealand Film
Music Bulletin, 104, Nov. 1998, S. 12-14.
An appreciation of Miklós Rózsa's score for DOUBLE
INDEMNITY.
Studlar, Gavlyn: DOUBLE INDEMNITY (1944):
Hard-Boiled Film Noir. In: Geiger, Jeffrey / Rutsky,
R. L. (eds.): Film Analysis: A Norton Reader. New
York, NY: Norton; 2005, S. 380-399.
Sundstrand, Jacquelyn K.: Searching for the man
from Medford, Oregon, in the movie DOUBLE INDEMNITY. In: Journal of the West 45,1, Winter
2006, S. 57-66.
The making of James M. Cain's film DOUBLE INDEMNITY along with an account of the life's of the
actors and crew members associated with the movie
are detailed.
Telotte, J[ay] P.: Film Noir and the Double Indemnity of Discourse. In: Genre 18,1, Spring 1985, S. 5773.
Telotte, Jay P.: Voices in the dark. The narrative patterns of film noir. Urbana, Ill. [...]: University of Illinois Press 1989, 245 S.
Tyler, Parker: Magic-lantern metamorphoses III:
Double into Quadruple Indemnity. In seinem: Magic
and Myth of the Movies. London: Secker & Warburg
1971, cap. 8, S. 169-178.
Zuerst New York: Henry Holt 1947. Zahlreiche Neudr.
Vernet, Marc: The filmic transaction: on the openings of film noirs. In: Velvet Light Trap: a Critical
Journal of Film and Television, 20, Summer 1983,
pp 2-9.
Wells-Lassagne, Shannon: Private Eye, Public Eye:
Adapting DOUBLE INDEMNITY. In: Literary readings of Billy Wilder. Ed. by Georges-Claude Guilbert. Newcastle: Cambridge Scholars Publ. 2007, S.
190-212.
Rezensionen I:
201 Greatest movies of all time. In: Empire, 201,
March 2006, S. 77-88, 90-101.
A listing of the top two hundred and one films as chosen by the reader's of Empire magazine. With comments by actors and filmmaker's.
Agee, James: Rez. In: The Nation, 14.10.1944.
Repr. in Agees: Agee on film. Reviews and comments.
Boston: Beacon Press 1964.
Alsted, C.: Kvinden uden samvittighed-en arketypisk film noir. In: Kosmorama 31, Juli (=172) 1985,
S. 74-80.
Atkinson, Michael: Barbara Stanwyck in DOUBLE
INDEMNITY. In: Movieline 6, Jan./Febr. 1995, S.
86.
Ba. Rez. In: Der Abend, 5.12.1950.
Balague, Carles: Rev. In: Dirigido Por, 268, Mai
1998, S. 62-63.
Baughan, Nikki: Rev. In: Film Review, 664, Dec.
2005, S. 96.
Brodie, John: Rev. In: Premiere 10, Juli 1997, S. 88.
Brunette, Peter / Peary, Gerald: Tough guy. In: Film
Comment 12,3, Mai-Juni 1976.
Interview mit James M. Cain.
Buller, R.: James M. Cain: the Hollywood years
1944-1946. In: Hollywood Studio Magazine 18,11,
1985, S, 16-19+.
Chaumeton, E. / Borde, Raymond: Assurance sur la
mort. In: L'Avant-Scène Cinéma, 233, 1.10.1979, S.
29.
Aus dem Buch Panorama du Film noir americain (Paris: Minuit 1955).
Collins, Andrew: Rev. In: Radio Times , 20 August
2005, S. 37.
Crowther, Bosley: Rez. In: The New York Times,
7.9.1944.
D.Kr. (=Dieter Krusche): Rez. In: Filmforum (Emsdetten) 3,10, Juli 1954.
Ebert, Roger: Rez. In seinem: The great movies.
New York: Broadway Books 2002, S. 143 ff.
Fielder, Miles: Barbara Stanwyck Box Set. In: Empire, 198, Dec. 2005, S. 199.
Fraser, Rob: Rev. In: Empire, 194, Aug. 2005, S.
176.
Gallagher, Brian: Hard-as-Nails Dept. In: New Republic 111,4, 24.7.1944, S. 103-.
Grob, Norbert: Re. In: Filmgenres: Film noir. Hrsg.
v. Norbert Grob. Stuttgart: Reclam 2008, S. 94-99.
Hicks, Jimmie: Raymond Chandler movies. In: Hollywood Studio Magazine 20,12, 1987, S. 12-15+.
Howard, Tom: Rev. In: Reid‘s Film Index, 13, 1994,
S. 114-117.
Invernici, Arturo: Rez. In: Cineforum: Quaderno
mensile della Federazione italiana dei cineforum
41,6 (=406), 2001, S. 92.
Iversen, Gunnar: En historie med skitten smak. In: Z
Filmtidsskrift, 1 (=59), 1997, S. 34-38.
Jensen, Paul: Raymond Chandler: The world you
live in. In: Film Comment 10,6, Nov./Dec. 1974.
Johnson, Ted: Rev. In: Variety 404,2, 28.8.2006, S.
72.
Johnson, Ted: Rev. In: Best Life 3,7, Sept. 2006, S.
70.
Karasek, Hellmuth: Rez. In seinem: Mein Kino. Die
100 schönsten Filme. Hamburg: Hoffmann und
Campe 1994, S. 175-177.
Kempster, Grant: Rev. In: Film Review, 659, July
2005, S. 111.
Kenny, Glenn: Rev. In: Premiere 20,2, Oct. 2006, S.
94.
K.F.B.: Rez. In: Monthly Film Bulletin 11,128, Aug.
1944, S. 89.
K.H.: Rez. In: Frankfurter Rundschau, 4.1.1967.
Lady killers. In: Empire, 221, Nov. 2007, S. 142145.
Listing of the best femmes fatales to appear in film.
Lamet, Juan Miguel: Rez. In: Nickel Odeon: Revista
Lardner, John: Rez. In: The New Yorker, 16.9.1944.
Lucas, Blake: Rez. In: Film Noir. An Encyclopedic
Reference to the American Style. Ed. by Alain Silver
& Elizabeth Ward. 3rd ed. Woodstock, N.Y.: The
Overlook Press 1992, S. 92-94.
1st ed. 1979.
Lucas, Frank: De schoonheid van het kwaad. In:
Skrien, 176, Febr./März 1991, S. 44.
MacNab, Geoffrey: Billy Wilder Boxed Set. In:
Sight and Sound 17,1, Jan. 2007, S. 86.
MacNab, Geoffrey: Rev. In: Sight and Sound 15,6,
June 2005, S. 82.
Mallett, Richard: Rez. In: Punch, 207, JUly-Dec.
1944, S. 264.
Morandini, Morando: Donne fatali e uomini pipistrello. In: Duel. Mensile di cinema, immagini e
televisione 8,84, Nov. 2000, S. 64.
Nathan, Ian: At Home/All-time 100: Month Two:
Thrillers. In: Empire, 198, Dec. 2005, S. 214-215.
Ten thrillers chosen to be included in a perfect DVD
collection of one hundred films.
Nielsen, Ray: Ray's way: Billy Wilder and DOUBLE INDEMNITY. In: Classic Images, 102, Dec.
1983, S. 65-66.
p.e. (=Karl Walther Kluger): Rez. In: Tagesspiegel,
6.12.1950.
Pena Pérez, Jaime J.: Diez encuentros: radiografía de
una PERDICIÓN. In: Vértigo, N. 1, Dic. 1991, S.
22-25.
Pichler, Oelwin H.: Some Like It Black. In: Blimp:
Zeitschrift für Film, 18, Frühjahr 1991, S. 51-54.
Piesse: Rez. In: Rivista del cinematografo 20,6,
1947, S. 16.
P.K.: Rev. In: New Yorker 66,11, 30.4.1990, S. 30.
P.K.: Rev. In: Los Angeles Magazine 51,10, Oct.
2006, S. 188.
PWJ (=Peter W. Jansen): Rez. In: Die Zeit,
18.2.1972.
Renshaw, Jerry: Rev. In: Scarlet Street, 29, 1998, S.
71.
Sadoul, Georges: Rez. In: Les Lettres Françaises,
121, 16.8.1946.
Schmidt, Johann N.:: Rez. In: Filmklassiker. 1.
19137-1946. Hrsg. v. Thomas Koebner. Stuttgart:
Reclam 1995, S. 476-479.
Seville, John: The laser's edge: James M. Cain &
film noir. In: Classic Images, 210, Dec. 1992, S. 4648.
1.1.1944, S. 18.
Sweeney, Kenneth: Rev. In: American Cinematographer 88,1, Jan. 2007, S. 12, 14.
The 10 Best Ever Screenplays. In: Empire, 186, Dec.
2004, S. 72-73.
Toiviainen, Sakari: Mika maailma: pitkat jaahyvaiset
kohtalokkaallenaiselle. In: Filmihullu, 3, 1984, S.
24-26.
Z.: Rez. In: Katholischer Filmdienst, 14, 1950.
Rezensionen II:
Time, 10.7.1944.
New York Motion Picture Critics Reviews 1,19,
18.9.1944, S. 253, 254.
Selection of reviews by the American Motion Picture
Critics.
Today's Cinema 82,7029, 9.6.1954, S. 14.
Films in Review 17,9, Nov. 1966, S. 595.
Notes on the cuts made to the original version.
The Listener 117,3014, 4.6.1987, S. 52.
Film Review, 655, April 2005, S. 142.
The Listener 114,2925, 5.9.1985, S. 31.
New Zealand Film Music Bulletin, 103, Aug. 1998,
S. 9.
A review of the CD release of film music by Miklós
Rózsa for the films DOUBLE INDEMNITY, LOST
WEEKEND, THE KILLERS.
The Lost Weekend
Das verlorene Wochenende
USA 1945
Literarische Vorlage:
Jackson, Charles Reginald: The lost weekend. New
Yiork: Editions for the Armed Services [1944], 349
S. (Armed Services Editions. 1041.).
Repr.: London: Lane, Bodley Head 1946, 254 S.
Repr:: New York: Modern Library 1948, 244 S. (The
Modrermn Library of World‘s Best Books. 258.).
Repr. London: Pocket Books 1950, 246 S.
Repr.: New York: Noonday Press 1961 [Copyright:
1960], 244 S.
Repr., with a new introduction by Seldon D. Bacon.:
New York: Time Inc. [1963], xix, 277 S.
Repr.: New York: Popular Library 1964 [Copyright:
1960], 208 S. (Popular Library Edition. M2052.).
Rez.: New York: Manor Books 1973, 244 S.
Repr.: Syracuse, NY: Syracuse University Press 1996,
244 S.
Dän.: Forspilte dage. Overs. Efter „The Lost Weekend“ vod Vilhelm Kruse. Købnhavn: P. Branner
1946, 193 S.
Dt.: Fünf Tage. Übertr. aus d. Engl. v. Renate Hertenstein. Hamburg: Toth 1951, 345 S. (in Lizenz des Alpha-Verlages, Zürich.).
Frz.: Le poison. Trad. de l‘Américain par Denise Nast.
Paris: Julliard 1946, 248 S. (Sequana.).
Ital.: Giorni perduti. Trad. dall‘inglese di Mario Monti. Milano: Langanesi 1946, 346 S. (La gaja Scienza.
N.S. 11.). -- Repr.: Milano: Longanesi 1967, 263 S.
Niederl.: Het verloern weekend. Roman, vertaald door
Clara Eggink. Amsterdamn: Querido 1947, 255 S.
Norw.: Forspilte dager. Overs. av Johan Hambro.
Oslo: Aschehoug 1946, 331 S.
Tschech.: Ztraconý weekend. Z anglického prelozil
Vilém Werner. Praha: Naklad. Elk 1948, 271 S.
Drehbuch:
Brackett, Charles / Wilder, Billy: THE LOST WEEKEND. In: Gassner, John / Nichols, Dudley (ed.):
Best film plays 1945. New York, NY: Crown 1946,
S. 1-56.
Wilder, Billy / Brackett, Charles: THE LOST WEEKEND, Screenplay. Berkeley [...]: University of California Press 2000, xiv, 110 S. (Cinema studies.).
Analysen:
(=329/330) 1982, S. 594-602.
Hare, William: Pulp fiction to film noir: the Great
Depression and the development of a genre. Jefferson, N.C.: McFarland 2012, x, 212 S.
Darin: Billy Wilder and alcoholism noir.
Hirschman, Elizabeth C.: A cinematic depiction of
drug addiction: a semiotic account. In: Semiotica
104,1/2, 1995, S. 119-164.
Tsikounas, Myriam / Bosseno, Christian-Marc: La
quadrature du zero. In: Vertigo: Revue d‘Esthétique
et d‘Histoire du Cinéma, 11/12, 1994, S. 85-91.
Wierzbicki, James: Weird Vibrations: How the Theremin Gave Musical Voice to Hollywood's Extraterrestrial 'Others'. In: Journal of Popular Film & Television 30,3, Oct. 2002, S. 125-135.
Discusses how the theremin, an electronic instrument
originally intended for the classical concert stage, became the sonic signature of alien Others during postatomic Golden Age of sci-fi cinema.
Wulff, Hans J.: Die filmische Analyse des Alkoholismus: Billy Wilders THE LOST WEEKEND. In:
Filmbeschreibungen. Hrsg. v. Hans J. Wulff. Münster: MAkS Publikationen 1985, S. 143-172.
Rezensionen I:
A.B.: Rez. In: La critica cinematografica : Rassegna mensile 1,5, 10.12.1946, S. 10.
Agee, James : Rez. In: Agee on film. Reviews and
comments. Boston: Beacon Press 1964, S. 182-184
(Beacon Series in Contemporary Communications.).
Basiert auf einer Rez. in: The Nation 161, 22.12.1945,
S. 697-698.
Alix, Yves: Un, deux, trois Wilder. In: Positif, 336,
Febr. 1989, S. 66-69.
B[acon], S.D.: A student of the problems of alcohol
and alcoholism views the motion picture THE LOST
WEEKEND. In: Quarterly Journal of Studies on Alcohol 6, 1945, S. 402-405.
Brower, Daniel: An Opinion Poll on Reactions to
THE LOST WEEKEND. In: Quarterly Journal of
Studies on Alcohol 7,4, March 1947, S. 596ff.
Castro, Antonio: Rez. In: Dirigido Por, 288, März
2000, S. 41-42.
Colpart, G.: "Le poison." In: Revue du Cinéma, 441,
Sépt. 1988, S. 55.
84-86.
Crowther, Bosley: Rez. In: New York Times 95,
3.12.1945, S. 17.
Crowther, Bosley: Alcohol and celluloid. In: The
New York Times 95, 9.12.1945, Sect. II, S. 5.
Di Stefano, Carlo: Rez. In: Star: Settimanale di cinema e altri spettacoli 3,17, 27.4.1946, S. 2.
Farber, Manny: Liquor flicker. In: The New Republic
114, 7.1.1946, S. 23.
Forseth, Roger: 'Why Did They Make Such a Fuss?'
Don Birnam's Emotional Barometer. In: Dionysos:
The Literature and Intoxication-TriQuarterly 3,1,
Spring 1991, S. 11-16.
Greenberg, Joel: Rez. In: Film Journal, 7,
March/April 1957.
Hartung, Philip T.: Hit! In: The Commonweal 43,
7.12.1945, S. 205-206.
Isaacs, Hermine Rich: Rez. In: Theatre Arts 29,11,
Nov. 1945, S. 637.
Jensen, Oliver: Lost Weekend hangover. In: Life 20,
11.3.1946.
Interview mit Ray Milland.
Kahn, Gordon: Morning After THE LOST WEEKEND. In: Atlantic, 177, Jan.-Juni 1946, S. 140.
K.F.B.: Rez. In: Monthly Film Bulletin, 142,
31.10.1945, S. 121.
Klepper, Robert K.: Rez. In: Classic Images, 285,
März 1999, S. 41-46.
Lukas, Karli: Rez. In: Metro, 120, 1999, S. 97-98.
McCabe, Bob: The 10 Best Ever Drunk Scenes. In:
Empire, 188, Febr. 2005, S. 64-65.
A selection of the ten best 'drunk' scenes from the movies and the criteria for selecting them.
McCarten, John: Very rare vintage. In: The New Yorker 21, 1.12.1945, S. 112-113.
MacNab, Geoffrey: Reviews: DVDs: Billy Wilder
Boxed Set. In: Sight and Sound 17,1, Jan. 2007, S.
86.
Mosdell, D.: Rez. In: Canadian Forum 26, 1946-47,
S. 19.
Pattison, Barrie: Rez. In: Reid‘s Film Index, 4, 1990,
S. 114-116.
Pflaum, Hans Günther: Billy Wilders DAS VERLORENE WOCHENENDE und Anmerkungen zum
Thema "Sucht im Film". In: Medien 4-5, 1082/83, S.
43-46.
Pichler, Oelwin H.: Some Like It Black. In: Blimp:
Zeitschrift für Film, 18, Fall 1991, S. 51-54.
Prada, Juan Manuel de: Rez. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 118121.
Scheuer, Philip K.: The cast in doings of drunk. In:
Los Angeles Times, 3.12.1944.
Enthält ein Interview mit Wilder.
1.1.1945, S. 51.
S[mith], H[arrison]: Case history. In: Saturday Review of Literature 28, 29.12.1945, S. 20.
Thomas, Tony: Rozsa noir. In: Film Score Monthly
2,3, 1997, S. 17.
Tognoloni, A.: Rez. In: Star: Settimanale di cinema
e altri spettacoli 3,22, 1946, S. 7
Rezensionen II:
Today's Cinema 65,5243, 25.9.1945.
Life 19, 15.10.1945, S. 139.
Theatre Arts 29,11, Nov. 1945, S. 638-639, 644.
Time, 3.12.1945, S. 98.
Newsweek 26, 10.12.1945, S. 112, 114-115 („Epic
in alcohol“).
New York Motion Picture Critics Reviews 2,44,
17.12.1945, S. 90-93.
Quarterly Journal of Studies on Alcohol 6,3, Dec.
1945, S. 402.
New Republic 114, 7.1.1946, S. 23 („Trade winds“).
Saturday Review of Literature 29, 2.2.1946, S. 18
(„Babes in the Hollywoods“).
Rivista del cinematografo 20,1, 1947, S. 19.
New Zealand Film Music Bulletin, 103, Aug. 1998,
S. 9.
Film music by Miklós Rózsa for the films DOUBLE
INDEMNITY, LOST WEEKEND, THE KILLERS.
Anderes:
The great ones: "The Lost Weekend" [Photo Essay].
In: Classic Film Collector, 66. Nov. 1979, S. 36-37.
Rushes: Alcohol. In: Sight and Sound 17,8, Aug.
2007, S. 11.
A listing of five fiction films about alcohol and its effects.
The Emperor Waltz
Kaiserwalzer
aka: Ich küsse Ihre Hand, Madame
USA 1948
Rezensionen I:
18.6.1948.
Dorigo, Francesco: Psicanalisi e complessi nel cinema. In: Rivista del cinematografo 30,7-8, 1957, S.
238ff.
Über THE EMPEROR WALTZ, OH, MEN! OH, WOMEN! (Nunnally Johnson, 1957), PURSUED (Raoul
Walsh, 1947) und THE SNAKE PIT (Anatole Litvak,
1948).
Fr. (=Kurt Bernhard Fischer): Rez. In: Evangelischer Filmbeobachter, 33, 1955.
K.H.: Rez. In: Die Welt (Berliner Ausg.), 20.7.1955.
K.NF. (=Karena Niehoff): Rez. In: Der Tagesspiegel, 20.7.1955.
McCarten, John: Rez. In: The New Yorker,
26.6.1948.
Reid, John Howard: Rez. In: Reid‘s Film Index, 14,
1995, S. 45-46.
Z.: Rez. In: filmdienst, 14, 1955.
Rezensionen II:
Today's Cinema 70,5641, 30.4.1948, S. 11.
Monthly Film Bulletin 15,173, May 1948, S. 62.
Motion Picture Herald 171,6, 8.5.1948, S. 4153.
Time, 19.7.1948.
The Listener 118,3027, 3.9.1987, S. 32.
A Foreign Affair
Eine auswärtige Affäre
USA 1948
Analysen:
Bathrick, David: Billy Wilder's Cold War Berlin. In:
New German Critique, 110, Summer 2010, S. 31-47.
Studi sul Cinema 33,329-330, Nov./Dec. 1982, S.
529-535.
Bettinger, Elfi: One, Two, Three-Billy Wilders Berlin-Filme. In: Helbig, Jörg (ed.): Welcome to Berlin:
Das Image Berlins in der englischsprachigen Welt
von 1700 bis heute. Berlin: Stapp 1987, S. 175-189.
Brauerhoch, Annette: Technik, Krieg und Liebe. In:
Frauen und Film, 61, März 2000, S. 101-127.
Brauerhoch, Annette: "Fräuleins" und GIs: Geschichte und Filmgeschichte. Frankfurt/Basel: Stroemfeld Verlag 2006, 532 S. (Nexus, 70.).
Craig, Siobhan: THE THIRD MAN and the Wilder
Side of Rubble. In: Quarterly Review of Film and
Video 27,3, May 2010, S. 193-209.
Billy Wilders's A FOREIGN AFFAIR and Carol Reed's The THIRD MAN focus on a confrontation between the fascist culture (now in physical and symbolic
ruins) and the American popular culture (offered by
Allied 'liberators').
Dazu auch: Craig, Siobhan S.: Cinema after fascism:
the shattered screen. New York: Palgrave Macmillan
2010, 199 S. (Studies in European culture and
history.).
Culbert, David: Hollywood in Berlin, 1945: a note
on Billy Wilder and the origins of A FOREIGN AFFAIR. In: Historical Journal of Film, Radio and Television 8,3, 1988, S. 311-316 [311-323].
Hollywood director Billy Wilder, who was forced to
flee Nazi Germany, returned to Berlin in 1945 and attempted to gain official support for a feature film that
"would explain American occupation of Germany to
civilian audiences in both Europe and America." His
efforts resulted in A FOREIGN AFFAIR (1948).
[America History and Life]
Following on from the article in: Historical Journal of Film, Radio and Television 7,1, 1987.
Despoix, Philippe: Mémoires berlinoises, ou "l'heure
zéro" de Billy Wilder. In: Cinemas 15,1, Fall 2004,
S. 29ff.
The author presents an analysis of the 1948 film within the social and historical context of the end of
World War II in Germany. The author looks at the
combination of documentary images and fictional genre stylistics which generate a new genre he calls the
"comedy of ruins."
Flippo, Hyde L.: Marlene Dietrich in the German
Classroom: A German Film Project: Humanities and
Language through German Cinema. In: Die Unterrichtspraxis / Teaching German 26,2, Autumn 1993,
S. 132-139.
Giralt, Gabriel: The existential framework of "Zentropa's" narrative: a clash of two national identities.
In: Kinema: a Journal for Film and Audiovisual Media, 15, Spring 2001, S. 5-28.
Loewenstein, Joseph / Tatlock, Lynne: The Marshall
Plan at the Movies: Marlene Dietrich and Her Incarnations. In: The German-Quarterly 65,3-4, SummerFall 1992, S. 429-442.
Rosenberg, Emily S.: "Foreign Affairs" after world
war II: Connecting sexual and international politics
(A FOREIGN AFFAIR and THE MAN IN THE
GREY FLANNEL SUIT). In: Diplomatic History
18,1, 1994, S. 59-70.
Schmundt-Thomas, Georg: Hollywood's Romance
of Foreign Policy: American GIs and the Conquest
of German Fraulein. In: Journal of Popular Film
and-Television 19,4, Winter 1992, S. 187-197.
Examines THE BIG LIFT, A FOREIGN AFFAIR and
FRAULEIN, where relationships between American
GIs and German women are seen as allegories of political relations between the two countries. In an issue
devoted to internationalism.
Setje-Eilers, Margaret: Ferreting Out the Foreign:
Billy Wilder's A FOREIGN AFFAIR (1948) and
Wolfgang Becker's GOOD BYE, LENIN! (2003).
In: Schechtman, Robert / Roberts, Suin (eds.): Fin-
ding the Foreign. Newcastle upon Tyne: Cambridge
Scholars 2007, S. 2-12.
Willett, Ralph: Billy Wilder's A FOREIGN AFFAIR
(1945-48, S. "The Trials And Tribulations Of Berlin." In: Historical Journal of Film, Radio and Television 7,1, 1987, S. 3-14.
Article on the portrayal of post-War Berlin in the film,
with the text of the song 'Black Market' from Billy
Wilder's film A FOREIGN AFFAIR.
Rezensionen I:
Aachen, George: Rez. In: Reid‘s Film Index, 33,
1997, S. 122-124.
Amengual, Barthélemy: La convenzione di Wilder.
In: Filmcritica. Mensile di Studi cinematografici
4,28, Sept. 1953, S. 107-108.
Baskar, B.: Rez. In: Revue du Cinéma 301-202, Hors
Série 1982 (1982).
Celemenski, M.: Rez. In: Cinématographe, 71, Oct.
1981, S. 48-49.
Celemenski, M.: Rez. In: Cinématographe, 89, May
1983, S. 14.
Courant, G.: Rez. In: Cinéma 81 C81 (=274), Oct.
1981, S. 88-89.
1.7.1948.
Dassanowsky-Harris, Robert: Billy Wilder's Germany. In: Films in Review 41, 6-7, June/July 1990, S.
352-355.
Farber, Stephen: Marlene Dietrich in A Foreign Affair. In: Movieline 10, Nov. 1998, S. 77.
Günther, W.: Der andere Trümmerfilm. In: Medium
7, April 1977, S. 23.
Hollstein, Dorothea: Rez. In: Filmbeobachter, 9,
1977.
Jeremias, Brigitte: Rez. In: Frankfurter Allgemeine
Zeitung, 9.5.1977.
Lueken, Verena: Rez. In: epd Film, 8, Aug. 1991, S.
36.
MacNab, Geoffrey: Rez. In: Sight and Sound 17,1,
Jan. 2007, S. 86.
Mallett, Richard: Rez. In: Punch, 215, Juli-Dez.
1948, S. 234.
Masson, A.: Contre philinte. In: Positif, 248, Nov.
1981, S. 68-70.
10.7.1948.
McMahon, Gary: Nostalgia over Berlin. In: Film International 7,3, May 2009, S. 6-12.
Discusses the 'retrograde fascination' and nostalgia of
German films pre and post reunification.
Menil, Alain: Tombeau de Berlin. In: Cinématographe, 89, May 1983, S. 20-22.
Merigeau, S. : Rez. In: Revue du Cinéma, 365, Oct.
1981, S. 58-59.
Pryor, Thomas: End of a journey. In: New York Times, 23.9.1945.
Bericht über eine Pressekonferenz.
Putter, Jos de: Arthur en Dietrich. In: Skrien, 176,
Febr./March 1991, S. 44-45.
Robillot, Henri: Rez. In: Temps modernes 4,
1948/49, S. 1137.
Rrh (= Rüdiger Hamacher): Rez. In: Filmdienst, 9,
1977.
259, 12.5.1949.
scho (=Walter Schobert): Rez. In: Frankfurter Rundschau, 6.5.1977.
Schulberg, Stuart: A letter about Billy Wilder. In:
The Quarterly of Radio, Film, and Television 7,4,
Summer 1953.
Über das Verbot des Films durch die Berliner Militärregierung.
Nachgedr. in: Spielfilme im deutschen Fernsehen
(ARD), 1977.
Auszugsweise nachgedr. in: Marlene Dietrich. 1. Dokumente/Essaays/Filme. Hrsg. v. Werner Sudendorf.
München: Hanser 1977.
tsr (=Thomas Thieringer): Rez. In: Süddeutsche Zeitung, 6.5.1977.
Rezensionen II:
Kinematograph Weekly, .2146, 17.6.1948, S.17.
Today's Cinema 71,5671, 9.7.1948.
Time, 26.7.1948.
Monthly Film Bulletin 15,175, July 1948, S. 94.
Cinema. Quindicinale i divulgazione cinematografica 2,7, 30.1.1949.
Positif, 248, Nov. 1981, S. 68-71.
Films in Review 41,5, May 1990, S. 293-297.
Article on Wilder's depiction of Germans and Americans in films set in post-war Germany, concentrating
on this film and also considering the character of Erika
and Marlene Dietrich's playing of the role.
Berlin Film Festival Catalogue 55, 10.2.2005, S.
253.
Sunset Blvd.
Boulevard der Dämmerung
USA 1950
Drehbuch:
Ital.: Wilder, Billy: SUNSET BOULEVARD: sceneggiatura. Roma: Bianco & Nero 1952, 105 S., [8] Taf.
(Testi e documenti per la storia del film.).
Auch in: Bianco e Nero 12,11-12, Novv./Diz. 1951.
Engl.: Brackett, Charles / Wilder, Billy / Marshman,
D.M.: SUNSET BOULEVARD. With an introduction
by Jeffrey Meyers. Berkeley, Cal. [...]: University of
California Press 1999, xvii, 126 S.
Drehbuch.
Ital.: VIALE DEL TRAMONTO: la sceneggiatura
completa, di Billy Wilder, Charles Brackett, D.M. Jr.
Marshman. [Trad. di Tatiana Petrovich Njegosh. Introduzione di Jeffrey Meyers. Nota all'ed. it. di Sara Antonelli.] Roma: Elleu Multimedia 2003, 175 S.
Filmroman:
Ferry, Odette: Boulevard du crépuscule SUNSET
BOULEVARD . Roman inspiré par le scénario original de Charles Brackett, Billy Wilder et D.M. Marshman. Paris: Amiot [1951], 183 S.
Analysen:
Afnan, Elham: Imaginative Transformations' Great
Expectations and SUNSET BOULEVARD. In: Dickensian 94,1 (=444), Spring 1998, S. 5-12.
Subjects: film adaptation; Lean, David; Wilder, Billy;
Sunset Boulevard; Inge, William Motter; Dickens,
Charles; Great Expectations.
Asher, Jacqueline Colleen: Kept Boys: Scenes of
Masculine Dependency in American Literature and
Culture. Diss. Riverside, University of California at
Riverside 2008.
Abstract: Dissertation Abstracts International, Section
A: The Humanities and Social Sciences 70,1, July
2009, S. 179.
Bellido López, Adolfo: EL CREPÚSCULO DE LOS
DIOSES: SUNSET BOULEVARD. Estudio crítico.
Barcelona: Paidós [2000], 157 S.
Bettetini, Gianfranco: Tempo del senso: la logica
temporale dei testi audiovisivi. Milano: Bompiani
1979, 277 S. (Studi Bompiani. Il Campo
Semiotico.).
Repr., 2., 1994; 3., 2000.
Span.: Tiempo de la expresión cinematográfica: la lógica temporal de los test audiovisuales. Trad. de Silvia Tabachnik. México, D.F.: Fondo de Cultura
Económica 1984, 403 S. (Breviarios del Fondo de
Cultura Económica. 357.).
Boudet-Lefort, Caroline: Hollywood et ses fantômes: SUNSET BOULEVARD de Billy Wilder. In:
Prédal, René (ed. and introd.): Le Cinéma au miroir
du cinéma. Condé-sur-Noireau: Corlet 2007, S. 179184.
Bronfen, Elisabeth: Eine Frage des Lichts. Visualität
des Textes, Textualität des Bildes. In ihrem: Crossmappings. Essays zur visuellen Kultur. Zürich:
Scheidegger & Spiess 2009, S. 45-69.
Carroll, Noel: Film form: an argument for a functional theory of style in the individual film. In: Style
32,3, 1998, S. 385-401.
Chateauvert, Jean / Gaudreault, André: Le corps, le
regard et le miroir. In: Semiotica 112,1/2, 1996, S.
93-107.
Chivers, Sally: Baby Jane Grew Up: The Dramatic
Intersection of Age with Disability. In: Canadian
Review of American Studies 36,2, 2006, S. 211-227.
In this article, I examine how the spectacle of aging
film stars replicates and dictates the cultural attitudes
that make risking the scandal of anachronism "necessary and inevitable as a sign of life," as Mary Russo puts it, even when age does not literally signify
death (in other words, even when the actresses are
only middle-aged) (21). With close attention to Hollywood films SUNSET BOULEVARD and WHATEVER HAPPENED TO BABY JANE? I argue that the
conflation of disability with gender and aging in the
character of Blanche Hudson encapsulates the impossible standards imposed on all non-normative bodies
(that is, all bodies) by Hollywood cinema. While
aging bodies are not necessarily disabled, older people
frequently face being treated as though they were physically less capable than they once were. The assumption that disability is automatic in later life has negative impacts both on those older people who do not experience significant physical impairment and on those
older people who have lived with physical impairments since long before they were labelled old. In
Baby Jane, the collision of Blanche Hudson's physical
disability with Jane Hudson's psychiatric illness relies
upon an understanding of their obsolescence as performers; their failed physicality mirrors their stalled career paths. However, as I will argue, the double-edged
performances offered by Joan Crawford and Bette Davis undermine that obsolescence.
Ciment, Michel: Les conquérants d'un nouveau
monde. Essais sur le cinéma américain. Paris: Gallimard 1981, 317 S. (Idées. Sciences humaines. 450.).
Comas Puente, Ángel: LA REINA DE AFRICA /EL
CREPÚSCULO DE LOS DIOSES. Barcelona: Dirigido por 1998, 140 S. (Programa doble. 33.).
Über SUNSET BLVD. und AFRICAN QUEEN (John
Huston).
Cooke, Grayson: We Had Faces Then: SUNSET
BOULEVARD and the Sense of the Spectral. In:
Quarterly Review of Film & Video 26,2, March
2009, S. 89-101.
Examines SUNSET BOULEVARD in the light of
Derrida's theory of 'hauntology' as expounded in his
book Spec tres of Marx.
Coppedge, Walter R.: Revisiting The Waste Land at
10086 Sunset Boulevard. In: West Virginia University Philological Papers, 37, 1991, S. 96-103.
Archetypal imagery; SUNSET BOULEVARD; T.S.
Eliot.
Costantini, Gustavo: Kinopraxis: Enunciation and
the 'I' of the camera: Voice-overs, embedded narrators and ghostly presences. In: Filmwaves, 34, Oct.
2007, S. 40-47.
Cremonini, G.: Le figure del racconto: il narratore
fuori campo: in VIALE DEL TRAMONTO e MONSIEUR VERDOUX. In: Cineforum 25,246, Aug.
1985, S. 47-50.
Dean, Joan F.: Sunset Boulevard: Illusion and Dementia. In: Revue Française d'Etudes Américaines
9,19, Févr. 1984, S. 89-97.
Billy Wilder's SUNSET BOULEVARD incorporates
elements of film noir in its essentially realistic style,
inverts the established patterns of the backstage movie, and draws upon themes and character types familiar in American film and theater. [American History
and Life]
Erens, Patricia: SUNSET BOULEVARD: a morphological analysis.In: Film Reader, 2, 1977, S. 90-95.
Friel, James: 'You See, This Is My Life': The Worlds
of Billy Wilder's SUNSET BOULEVARD. In: Literary Readings of Billy Wilder. Ed. by GeorgesClaude Guilbert. Newcastle upon Tyne, England:
Cambridge Scholars 2007, S. 25-41.
Gibson, Andrew: 'And the wind wheezing through
that organ once in a while': voice, narrative, film. In:
New Literary History 32,3, 2001, S. 639-657.
Gyurko, Lanin A.: Time, Myth, and Fate in Fuentes'
Aura and Wilder's SUNSET BOULEVARD. In: Kanina: Revista de Artes y Letras de la Universidad de
Costa Rica 8,1-2, 1984, S. 145-164.
Gyurko, Lanin A.: Fuentes' AURA and Wilder's
SUNSET BOULEVARD: A Comparative Analysis.
In: Ibero-American Archiv 10,1, 1984, S. 45-86.
Gyurko, Lanin A.: Myth and Mythification in Fuentes' AURA and Wilder's SUNSET BOULEVARD.
In: Hispanic Journal 7,1, Fall 1985, S. 91-113.
Kinder, Marsha: Ideological parody in the new German cinema: reading THE STATE OF THINGS,
THE DESIRE OF VERONIKA VOSS, and Germany pale mother as postmodernist rewritings of THE
SEARCHERS, SUNSET BOULEVARD, and
BLONDE VENUS. In: Quarterly Review of Film
and Video 12, May 1990, S. 73-103.
King, Kimball: Hollywood as Text in the Plays of
Christopher Hampton, with Reference to David
Rabe and Others. In: Hollywood on Stage: Playwrights Evaluate the Culture Industry. Ed. by Kimball
King. New York, NY: Garland 1997, S. 185-192
(Studies in Modern Drama)..
Subjects: Hollywood; foreign culture; Wilder, Billy;
Sunset Boulevard; Hampton, Christopher; Tales from
Hollywood.
Lambert, Gavin: Origins of the Sunset Boulevard
mansion. In: Architectural Digest 55,4, April 1998,
S. 70ff.
Describes the creation of the house in the Billy Wilder
movie SUNSET BOULEVARD. The house as one of
the characters in the movie; Participation of production designer Hans Dreier; Script specifications for the
house; Locations that were used; Finding the props;
Gloria Swanson's role.
Marcello, Starr A.: Performance Design: An Analysis of Film Acting and Sound Design. In: Journal of
Film and Video 58,1/2, April 2006, S. 59-70.
The article focuses on sound/image interplay, particularly in TROUBLE IN PARADISE, SUNSET BOULEVARD and PICKPOCKET.
Phillips, Gene D.: Out of the shadows: expanding
the canon of classic film noir. Lanham: Scarecrow
Press 2012, xiii, 307 S.
Darin: 7. George Cukor: A Double Life Billy Wilder:
Sunset Boulevard (S. 111-130).
Prédal, René (dirigé par): Le cinéma au miroir du
cinéma. Condé-sur-Noireau: Corlet, 2007, 264 S.
(CinemAction. 124.).
Smoodin, Eric: The image and the voice in the film
with spoken narration. In: Quarterly Review of Film
Studies 8,4, 1983; S. 19-32.
Staggs, Sam: Close-up on SUNSET BOULEVARD:
Billy Wilder, Norma Desmond, and the dark Hollywood dream. New York: St. Martin's Press 2002, x,
420 S., [16] Taf.
Relates the story of how SUNSET BOULEVARD became a screen classic, revealing the secrets and scandals involving the big names associated with the movie and documenting the impact of this film on society.
Span.: El Crepúsculo de los dioses :Billy Wilder, Norma Desmond y el sueño oscuro de Hollywood. Traducción de Juan Carlos Frugone. Madrid: T&B 2003, 358
S., [16] Taf.
Hall, J.S.: The Dimming of the Light. In: Bay Windows, 8.8.002, n.p.
Gold, Sarah F. [...]: Rev. In: Publishers Weekly 249,13,
1.4.2002, S. 63.
Rev. (Douglas, Andrew J.) in: Journal of the West
42,4, Fall 2003, S. 93.
Rev. (Brewer, Rosellen) in: Library Journal 127,6,
1.4.2002, S. 111.
Street, Sarah: 'Mad about the boy': masculinity and
career in Sunset boulevard. In: Me Jane. Masculinity, movies, and women. Ed. by Pat Kirkham and Janet Thumin. New York: St. Martin's Press 1995.
Taylor, Aaron: Twilight of the Idols: Performance,
Melodramatic Villainy, and SUNSET BOULEVARD. In: The Journal of Film and Video 59,2,
2007, S. 13-31.
On Gloria Swanson's performance as representation of
wickedness and how the audience is involved.
Trowbridge, Katelin: The War between Words and
Images - SUNSET BOULEVARD. In: LiteratureFilm Quarterly 30,4, 2002, S. 294-303.
An analysis of the ill-fated union between the two leading characters in SUNSET BLVD., which dramatises
their struggle to define reality through language and
visual signs, and to some extent offers insights into cinematic history.
Wolfreys, Julian: Hollywood Gothic/Gothic Hollywood: The Example of Billy Wilder's SUNSET
BOULEVARD. In: Smith, Andrew / Wallace, Jeff
(eds.): Gothic Modernisms. Basingstoke: Palgrave
2001, S. 207-224.
Rezensionen I:
Abramowitz, Rachael: Rez. In: Premiere 9, Febr.
1996, S. 90.
Agee, James: Rez. In: Sight & Sound 19,7, Nov.
1950.
Repr. in Agees: Agee on film. Reviews and comments.
Boston: Beacon Press 1964.
Agee, James: Rez. In: Projections, 8, 1998, S. 95100.
A.N.: Rez. In: Die Zeit, 28.12.1950.
Aristarco, Guido: Parodia della 'movie star'. In: Sequenze: Quaderni di cinema 2,10-11, Juli-Aug.
1950, S. 22-23.
Aristarco, Giuido: Rez. In: Cinema: Quindicinale di
divulgazione cinematografica 4,59, 1.4.1951, S.
180-181.
Astala, Erkki: Joe Gillisin kylma katse. In: Filmihullu, 3/4, 1986, S. 41.
Barbour, David: "Sunset Boulevard" - take two. In:
Entertainment Design 33, May 1999, S. 46-49.
Bellido, Adolfo: EL CREPÚSCULO DE LOS DIOSES y FEDORA. In: Nickel Odeo: revista trimestral
B.G.: Rez. In: Frankfurter Rundschau, 21.6.1971.
Black, John F.: Rez. In: Scarlet Street, 31, 1998, S.
72.
Bosley, Rachael: Rez. In: American Cinematographer 84,4, April 2003, S. 14, 16.
Bradbury, R.: The Tiger(poem). In: The Journal of
the Producers Guild of America 18,3, 1976, S. 18.
Brogdon, William: "Sunset Boulevard": the original
review. In: Variety 351, 19.7.1993, S. 54.
Bruno, Edoardo: Rez. In: Filmcritica:Mmensile di
studi cinematografici 1,3, Febr. 1951, S. 97-98.
Nov./Dez. (=329/330) 1982, S. 525-528.
Cappabianca, Alessandro: Rez. In: Filmcritica scuola 10,37, Aprile 2007, S. 4-6.
Carlsson, Mikael: Film music review: re-recordings.
In: Music from the Movies, 37, April 2003, S .27.
Chalais, François: Rez. In: Cahiers du Cinéma, 319,
Jan. 1981, S. 35-39.
Cohen, Meg: G-l-o-r-i-a! In: Harper's Bazaar, 3380,
July 1993, S. 135-.
Rates Gloria Swanson's performance as Norma Desmond.
Colpart, G.: Rez. In: Téléciné, 213, Déc. 1976, S.
16-17.
84-86.
Couchman, Jeffrey: Restoring SUNSET BOULEVARD. In: American Cinematographer 84,3, March
2003, S. 83.
On the restoration of Sunset Boulevard at Paramount.
The team included Barry Allen, Garrett Smith, Steve
Elkin, supervised by Phil Murphy, Paramount's senior
vice president of operations in the television division.
Cunningham, Donna S.: Thus spake Norma Desmond. In: Focus Magazine 8, Spring 1988, S. 2-5.
Dickstein, Morris: Rez. In: Grand Street 7,3, Spring
1988, S. 176-184.
Dickstein, Morris: Out of the past. In: Chaplin 31,1
(=220) 1989, S. 16-19.
Douglas, Andrew J.: Close-Up On Sunset Boulevard: Billy Wilder, Norman Desmond, and the Dark
Hollywood Dream. In: Journal of the West 42,4, Fall
2003, S. 93.
Ebert, Roger: Rez. In. Seinem: The great movies.
New York: Broadway Books 2002, S. 436 ff.
Elley, Derek: Movie was almost left in dark. In: Variety 351, 19.7.1993, S. 44.
Elley, Derek: Stage route changes direction. In: Variety 351, 19.7.1993, S. 46.
Elley, Derek: "You did not try to improve it." In: Variety 351, 19.7.1993, S. 44.
Errigo, Angie: Rez. In: Empire, 208, Oct. 2006, S.
170-173.
The results of an online debate by the reader's of Empire ma gazine about the filmmaker Billy Wilder. Includes a breakdow n of the opening scene from SUNSET BOULEVARD.
Esposito, Lorenzo: Rez. In: Filmcritica: Mensile di
studi cinematografici 52,523, März 2002, S. 131134.
Fox, Tom: The best films of the '50s. In: Film Review, 59, Aug. 2005, S. 54-55.
Freeman, David: SUNSET BOULEVARD revisited.
In: The New Yorker 69, 21.6.1993, S. 72-79.
Director Bill Wilder viewed his best-known film,
SUNSET BOULEVARD, for the first time since 1950,
on the occasion of the classic's adaptation as an Andrew Lloyd Webber musical. The film, Wilder's early
life and his much-maligned career are profiled.
Frodon, Jean-Michell: Je le fais, c'est tout. Entretien
sur SUNSET BOULEVARD. In: Cahiers du Cinéma, 599, 2005, S. 19-21.
Gerard, Jeremy: SUNSET BOULEVARD still bumpy. In: Variety 353, 20.12.1993, S. 30+ [3p].
Girard, Martin: Rez. In: Sequences: la Revue de
Cinéma, 171, April 1994, S. 50-52.
Gr J-t (=Werner Jungblodt): Rez. In: Filmdienst, 20,
1951.
Griffin, Mark: Score. In: Film Score Monthly 8,4,
April 2003, S. 44, 46.
Grob, Norbert: Days of the living dead. SUNSET
BOULEVARD von Billy Wilder. In: Filmbulletin
36,3, 1994, S. 38-40.
Groll, Gunther: Rez. In: Süddeutsche Zeitung, 21.22.4.1951.
Guibert, Hervé: Le mort qui parle: a propos de SUNSET BOULEVARD. In: Cahiers du Cinéma, 319,
Janv. 1981, S. 35-39.
Hahn, Ronald M. / Jansen, Volker: Rez. In ihrem:
Kultfilme. Von METROPOLIS bis ROCKY HORROR PICTURE SHOW. München: Heyne 1985, S.
58-64 (Heyne Filmbibliothek. 73.).
Hamburger, Philip: Rez. In: The New Yorker,
19.8.1950.
Hersant, Yves: Portrait de la star en singe mort. In:
Positif, 271 Sept. 1983, S. 34-36.
Houston, Penelope: Rez. In: Monthly Film Bulletin
17,200, Sept. 1950, S. 137.283.
Houston, Penelope: Rez. In: Sight and Sound 19,9,
Jan. 1951, S. 376.
S. 23.
Kael, Pauline: Rev. In: New Yorker 81,36,
14.11.2005, S. 30-.
Kannik Haastrup, Helle: Metafilmens fascination.
In: Kosmorama 41,213, Fall 1995, S. 17-23.
Kartseva, Elena: Rez. In: Iskusstvo Kino, 3, 1993, S.
157-173.
Kennedy, Colin: Rez. In: Empire, 166, April 2003, S.
57.
Kennedy, Colin: Rez. In: Empire, 167, May 2003,
S.. 144-145.
Produktionshintergründe.
Kirgo, Julie: Rez. In: Film Noir. An Encyclopedic
Reference to the American Style. Ed. by Alain Silver
& Elizabeth Ward. 3rd ed. Woodstock, N.Y.: The
Overlook Press 1992, S. 275-276.
1st ed. 1979.
Kissinger, David: SUNSET on legit horizon. In: Variety 341, 10.12.1990, S. 1+ [2p].
July 1998, S. 37-44 (hier: 38).
Klerk, Nico de: Talkie. In: Skrien, 176, Febr./March
1991, S. 45-46.
Kluger, Karl Walther: Rez. In: Tagesspiegel,
11.4.1951.
Koll, Horst Peter: Rez. In: Filmklassiker. 2. 19471964. Hrsg. v. Thomas Koebner. Stuttgart: Reclam
1995, S. 89-95.
Kroll, Jack: Sunset stripped. In: Newsweek 122,
26.7.1993, S. 42-43.
Lama, Sergio / Gaetano Strazzulla. Il film "noir"
americano (22). In: Quaderni di Cinema 7,
Jan./Febr. (=31) 1987, 12 S. [zwischen den S. 26
u.27.].
Lane, Peter: The sunset also rises. In: Music from
the Movies, 35/36, Dec. 2002, S. 20-23.
On Varèse Sarabande's new recording of Franz Waxman's SUNSET BOULEVARD, including interviews
with Robert Townson, Joel McNeely, Jonathan Allen,
John Waxman and Matthew Peak.
L.G.A. (=Lindsay Anderson): Rez. In: Sequence, 12,
Autumn 1950.
Lightman, Herb: Old master, new tricks. In: American Cinematographer 31,9, Sept. 1950.
Über Kameraarbeit und Ausstattung.
Ligner, Jean-Marc: Rez. In: Cinémotion, 2, Déc.
1988, S. 10.
Luft, Friedrich: Rez. In: Die Neue Zeitung (Münchner Ausg.), 11.4.1951.
McMahon, Gary F.: Frame grab. In: Sight and
Sound 16,4, April 2006, S. 32-34.
A description of trailer out-takes that did not feature in
the final release of films made between 1940s through
1960s, including SUNSET BLVD.
McNary, Dave: Rev. In: New Yorker 63,46, 4.1.1988,
S. 15.
Mariani, Paola: Rez. In: Rivista del cinematografo e
delle comunicazioni sociali: Cinema, teatro, televisione, radio, pubblicità, informazione 64,12, Dic.
1994, S. 50.
Maslin, J. / Canby, Vincent: Critics' choices for a
wintry weekend: film. In: The New York Times 136,
16.1.1987, S. C26.
Mel(M. Tobias): Rez. In: Revue du Cinéma 37-38
[=Hors serie 25, 1981], 1981.
Merckx, L.: Rez. In: Revue du Cinéma 37-38 [=Hors
série 25], 1981.
Müller, Erika: Rez. In: Frankfurter Allgemeine Zeitung, 4.5.1951.
Mundy, Robert: Some Notes on Billy Wilder. In:
The Billy Wilder Movie Marathon. Los Angeles Film
Exposition 1972.
Katalog. Enthält außerdem Auszüge aus einem unveröffentlichten Interview.
Nathan, Ian: The 10 Best Movie Entrances. In: Empire, 193, July 2005, S. 72-73.
A listing of the ten best entrances in film and the reasons for the choices made.
Oleszczyk, Michal: Sunset stripped. In: Sight and
Sound 17,10, Oct. 2007, S. 96.
Pattison, Barrie: Rez. In: Reid‘s Film Index, 6, 1991,
S. 205-208.
Peclet, Manon: Rez. In: Séquences: la Revue de
Cinéma, 207, Mars/Avril 2000, S. 16.
Pichler, Ölwin H.: Some Like It Black. In: Blimp:
Zeitschrift für Film, 18, Fall 1991, S. 51-54.
Rich, Frank. Critic's notebook: upstaging a new
Lloyd Webber musical. In: The New York Times 142,
14.7.1993, S. C13-C14.
Rigby, Jonathan: Rez. In: Shivers, 98, Aug. 2002, S.
62.
361, 3.5.1951.
Sandla, Robert: SUNSET dawns on Broadway. In:
Dance Magazine 69, Febr. 1995, S. 74-75.
Santarelli, Giorgio: Rez. In: Rivista del cinematografo 24,4, 1951, S. 28-29.
Sarris, Andrew: Rez. In: Village Voice, 18.8.1960.
Schmidlin, Rick: My saga of the newly discovered
estate of Erich von Stroheim. In: Moving Image 6,2,
2006, S. 101-109.
Schmidt, Hannes: Rez. In: Filmforum (Emsdetten)
1,6, März 1952.
Singer, Leigh: The top ten performances by directors. In: Empire, 218, Aug. 2007, S. 160-161.
Listing of the top ten performances given by directors
in on screen fictional roles.
1.1.1950, S. 87-.
Smith, Adam: The 10 Best Movies About Movies.
In: Empire, 196, Oct. 2005, S. 82-83.
Socci, Stefano: Quando una (diva) si abbandona. In:
Filmcritica: Rivista mensile di Studi sul Cinema 34,
Nov./Dez. (=339/340) 1983, S. 530-534.
Stuttaford, Genevieve: Magic Hour. In: Los Angeles
Magazine 55,1, Jan. 2010, S. 67-.
T.M.P. (=Thomas M. Pryor): Rez. In: The New York
Times, 11.8.1950.
Vrdlovec, Zdenko: Filmska naratologija. In: Ekran:
Revija za Film in Televizijo 14,5/6, 1989, S. 28-33.
Ward, L.E.: Rez. In: Classic Images, 136, Oct. 1986,
S. 56-57+.
Wenning, T.H.: Wilder e la Swanson sul SUNSET
BOULEVARD. In: Cinema: Quindicinale di divulgazione cinematografica 3,45, 3.8.1950, S. 118-121.
Wick, Ted: A classic film presents Hollywood as it
once was. In: Alberta Report / Newsmagazine 22,24,
29.5.1995, S. 33-.
Zupancic, Tadej: Rez. In: Ekran: Revija za Film in
Televizijo 20 [=10], 1995, S. 54-55.
Cinema: the new pictures. In: Time 122, 5.10.1983,
S. 120.
The greatest movie studios: part 1: a complete history of Paramount. In: Empire, 221, Nov. 2007, S.
171-181.
The final scene: SUNSET BOULEVARD: In: Creative Screenwriting 9,4, July 2002, S. 76.
Text of the final scene from SUNSET BOULEVARD.
The Write Stuff: the 25 greatest screenplays of all
time. In: Premiere 19,8, May 2006, S .82-87.
An inside look at the 25 best screenplays ever written
as chosen by the Writers Guild of America.
We Love L.A.. In: DGA Quarterly 6,2, July 2010, S.
58-65.
Behind-the-scenes shots of Los Angeles.
Rezensionen II:
Time, 14.8.1950.
Today's Cinema 75,6060, 16.8.1950.
American Cinematographer 31,9, Sept. 1950, S. 309.
Sight and Sound 19,7, Nov. 1950, S.
Cahiers du Cinéma 1,1, April 1951, S. 40.
Bianco e Nero 12,11/12, Nov 1951, S. 17.
Rivista del cinematografo 24,4, 1951, S. 28-29.
L'Avant-Scène du Cinéma, 83/84, July 1968, S. 86.
Positif, 271, Sept. 1983, S. 34-36.
Classic Images, 136, Oct. 1986, S. 56-57, 63.
The Listener 117,3009, 30.4.1987, S. 35.
Radio Times 301,3919, 27.3.1999, S. 47
Ace in the Hole
aka: Big Carnival
Reporter des Satans
USA 1951
Drehbuch:
Wilder, Billy: L'Asso nella Manica (Big Carnival).
[Drehbuch.] Roma: Edizioni Filmcritica [1952], 99
S.
Analysen:
Armstrong, Richard: Rev. In: Senses of Cinema: An
Online Film Journal Devoted to the Serious and
Eclectic Discussion of Cinema 19, March-April
2002.
Hoyt, Eric: Writer in the Hole: Desny v. Wilder, Copyright Law, and the Battle over Ideas. In: Cinema
Journal 50,2, Winter 2011, S. 21-40.
This essay explores ACE IN THE HOLE (Billy Wilder, 1951) and the related lawsuit, Desny v. Wilder
(1956), which changed the way idea disputes were litigated in California. By combining Film and Legal studies, the author argues, we achieve new understandings of the film, the filmmaker, and the relationship
between Hollywood and the law.
McNair, Brian: Journalism at the Movies. In: Journalism Practice 5,3, June 2011, S. 366-375.
The article focuses on the results of the survey regarding the best films on journalism. It states that the film
ALL THE PRESIDENT'S MEN, directed by Alan J.
Pakula and released in 1976, has been the favourite
film of the participants to the survey while the film
HIS GIRL FRIDAY has been the most highly regarded
movie of the respondents. The author lists his 10 best
films about journalism including HIS GIRL FRIDAY,
ACE IN THE HOLE and SWEET SMELL OF SUCCESS.
Rainbolt, William R.: Images of journalism in American films, 1946-1976. Ph.D.-Thesis, State University of New York at Albany, Dept. of History, 2004,
viii, 485 Bll.
Abstract: Dissertation Abstracts International, Nov.
2004, DAI-A 65/05, S. 1934.
[...] But others, beginning in 1951 with ACE IN THE
HOLE, dramatized a shift in the nostalgic tradition by
exposing the excesses of a roguish character type that
had made likable and predictable such traits as cynicism, deviousness, and amorality. This shift downplayed what Matthew Ehrlich calls a "exciting and
glamorous" theme, and emphasized "dangerous and
distasteful" aspects, an unsettling challenge to audiences' expectations of cinematic journalists-and
about filmgoers themselves-at a time when dramatic
changes were evolving in society and in particular in
Hollywood and the news media.
Staggs, Sam: Close-up on Sunset Boulevard: Billy
Wilder, Norma Desmond, and the dark Hollywood
dream. New York: St. Martin's Press 2002, x, 420
pp., [16] pls.
Relates the story of how SUNSET BOULEVARD became a screen classic, revealing the secrets and scandals involving the big names associated with the movie and documenting the impact of this film on society.
Handreichnungen, Schulmaterialien:
Fahle, Hans / Lessing, Adolf: Was wir vom Film wissen sollten. 10. REPORTER DES SATANS. [=Handreichung für Lehrer, hrsg. v. Landesarbeitsgemeinschaft Film Nordrhein-Westfalen.] Düsseldorf:
Selbstvlg. o.J.
Rezensionen I:
Ammannati, Floris Luigi: Rez. In: Rivista del cinematografo 24,9-10, 1951, S. 39-40.
Anon.: Putting life into a movie: ACE IN THE
HOLE. In: Life, 19.2.1951.
Über die Technik des Schnitts.
Benoliel, Bernard : Rez. In: Cahiers du Cinéma,
514, Juin 1997, S. 7.
Black, John F.: Rez. In: Scarlet Street, 31, 1998, S.
66+.
Braun, Hanns: Rez. In: Rheinischer Merkur (Koblenz), 23.8.1952.
Brne, Klaus: Rez. In: Katholischer Fildienst, 40,
1951.
Charity, Tom : Rez. In: Sight and Sound 17,10, Oct.
2007, S. 88.
30.6.1951.
Dorigo, Francesco: Quarto potere sullo schermo. In:
Rivista del cinematografo 31,3, Marzo 1958, S. 9091.
Erickson, Steven: Rev. In: Los Angeles Magazine
52,7, July 2007, S. 88.
Gifford, Barry: Unforgettable films. In: Projections,
8, 1998, S. 126-151.
G.L. (=Gavin Lambert): Rez. In: Monthly Film
Bulletin, 207, April 1951.
Honeycutt, Kirk: Rev. In: New Yorker 62,32,
29.9.1986, S. 22.
June 1951.
Kennemore, J.K.: THE BIG CARNIVAL. In: Reid‘s
Film Index, 45, 1999, S. 25-30.
Korn, Karl: Rez. In: Frankfurter Allgemeine Zeitung, 23.7.1952.
Liebenson, D.: Rev. In: Video Librarian 22,6,
Nov./Dec. 2007, S. 31.
Lo Doca: Rez. In: Cahiers du Cinéma, 11, April
1952.
Marple, B.G.: Rez. In: Films in Review 2,7, Aug.Sept. 1951, S. 38.
McCarten, John: Rez. In: The New Yorker, 7.7.1951.
Newman, Kim: Rev. In: Video Watchdog, 139, May
2008, S. 40.
Nogueira, Rui: Writing for the movies. An interview
with Walter Newman. In: Focus on Film, 11, Herbst
1972.
pan (=Walter Panofsky): Rez. In: Süddeutsche Zeitung, 12.3.1952.
Pflaum, H.G.: Rez. In: Süddeutsche Zeitung,
7.1.1953.
Santarelli, Giorgio: Rez. In: Rivista del cinematografo 25,5, 1952, S. 28-29.
Scheuer, Philipp K.: Wilder seeks films ‚with bite‘ to
satisfy ‚nation of hecklers‘. In: Los Angeles Times,
20.8.1950.
1.1.1951, S. 107.
Sklar, Robert: Rev. In: Cineaste 33,2, Spring 2008,
S. 67-69.
Sterling, Jan: The Role I Liked Best? In: Saturday
Evening Post, 1.3.1952, S. 145f.
Sterling cites that her role was a difficult, important
and interesting part in the film. She tried to make the
character understandable to audiences
Sweeney, Kenneth : Rez. In: American Cinematographer 88,10, Oct. 2007, S. 10, 12.
Tavernier, Bertrand : Rez. In: Télérama, 2825,
6.3.2004, S. 34.
Valcárcel, Horacio: Rez. In: Nickel Odeon: Revista
W.Lg. (=Walter Lennig): Rez. In: Der Tagesspiegel,
11.4.1952.
Wolf-K. B. (=Wolfgang Brüne): Rez. In: Die neue
Zeitung (Frankfurt), 13.3.1952.
W.W. (=Willy Wehrhan): Rez. In: Filmstudio, 26,
März-Juli 1952.
Rezensionen II:
Today's Cinema 76,6205, 8.3.1951, S. 6.
Monthly Film Bulletin 18,207, April 1951, S. 242.
Variety, 9.5.1951,
Newsweek, 2.7.1951.
Time, 9.7.1951.
Cinéaste (Göttingen), 7, 1952.
Cinématographe, 98, March 1984, S. 54-55.
Cinéma, 303, March 1984, S. 54-55.
Filmcritica: Mensile di studi cinematografici 2,6,
Sett. 1951, S. 103-104.
The Listener 117,3011, 14.5.1987, S. 36.
City Limits, 407, 20.7.1989, S. 78.
Stalag 17
Stalag 17
USA 1953
Drehbuch:
Wilder, Billy / Blum, Edwin: STALAG 17. Screenplay. Berkeley [...]: University of California Press
1999, xv, 137 S.
Bevan, Donald Joseph / Trzcinski, Edmund: Stalag
17. A comedy melodrama in three acts. New York:
Dramatists Play Service 1951, 115 S.
Black comedy and suspenseful action inside a German
POW camp during World War II - a setting that was
later borrowed for the TV sitcom HOGAN'S HEROES. The great director Billy Wilder adapted the hit stage play, applying his own wicked sense of humor to
the apparently bleak subject matter.
Analysen:
Grinder, Brian / Cooper, Dan: Just One Question:
Did You Calculate the Risk? In: Financial History,
98, Fall 2010, S. 10ff.
The article discusses the 1953 film STALAG 17,
about American prisoners of war during World War II,
and compares their risk assessment during an escape
attempt to a formula for quantitative risk assessment
advanced in a 1952 article called "Portfolio Selection"
by U.S. economist Harry Markowitz. Also discussed is
the risk motion picture director Billy Wilder took in
making STALAG 17 after his previous film, ACE IN
THE HOLE, was a box office failure. The plot of the
film and the story behind its production are seen as
good lessons for finance students.
Lee, Sander: Scapegoating, the Holocaust and McCarthyism in Billy Wilder‘s STALAG 17. In: Senses
of Cinema, 5, April 2000, online.
Marx, Barbara: American Pows in World War II:
STALAG 17 on Stage and Screen. In: Modern war
on stage and screen = Der moderne Krieg auf der
Bühne. Ed. by Wolfgang Gortschacher and Holger
Klein. Lewiston, N.Y. : Edwin Mellen Press 1997, S.
333-353.
Poague, Leland: The Politics of Perception: Wilder's
STALAG 17. In: Film Criticism, 1,3, Winter
1976/77 [1978], S. 19-25.
The article cites that the film is a flashback film with a
fascist metaphor. Its characters include an American
prisoner of war (POW) played by Gil Stratton Jr. who
narrates the flashback, which depicts the conflict between POWs and their German captors. It discusses the
behavior and personality of the film's characters including Sefton and Von Scherbach as well as the death of
the character Price in the film's ending. It also looks
into the funny side of the film and the moral lesson
and romanticism that is portrayed in the film.
Rezensionen I:
Bittermann, Walter: Rez. In: Rheinischer Merkur,
4.3.1960.
Castello, Giulio Cesare: Rez. In: Cinema. Quindicinale di divulgazione cinematografica 7,125,
15.1.1954, S. 21-22.
-ck (=Fritz W. Schwarzenbeck): Rez. In: Evangelischer Filmbeobachter, 7, 1960.
Collins, Andrew: The Reel Story Behind...STALAG
17. In: Radio Times 312,4069, 2.3.2002, S. 68.
Short article about the production of the film STALAG 17.
2.7.1953.
Delling, Manfred: Rez. In: Die Welt, 6.2.1960.
Premiere 4, Nov. 1990, S. 48+.
Goldsmith, Jeff: Rez. In: Creative Screenwriting 9,4,
July 2002, S. 56-58.
Plot analysis and details of Billy Wilder's production
of STALAG 17.
G.R. (=Günther Rohrbach): Rez. In: Filmkritik,
März 1960.
G-z (=Erwin Goelz): Rez. In: Stuttgarter Zeitung,
6.2.1960.
hdr (=Hans-Dieter Roos): Rez. In: Süddeutsche Zeitung, 11.2.1960
Howard, Tom: Rez. In: Reid‘s Film Index, 15, 1995,
S. 164-167.
Invernici, Arturo: Rez. In: Cineforum: Quaderno
42,2 (=412), Marzo 2002, S. 91.
11.7.1953.
Niehoff, karena: Rez. In: Tagesspiegel, 10.4.1960.
P.H. (=Penelope Houston): Rez. In: Monthly Film
Bulletin 20,234, July 1953, S. 103.
Pitman, R.: Rev. In: Video Librarian 21,3, May/June
2006, S. 52-.
Schallück, Paul: Rez. In: Filmforum (Emsdetten)
9,3, März 1960.
1.1.1953, S. 95.
Truffaut, François: Rez. In: Cahiers du Cinéma, 28,
Nov. 1953.
Repr. in Truffauts: Les films de ma vie. Paris 1975.
Dt. in: Die Filme meines Lebens. München: dtv 1979
(dtv. 1449.).
Engl.: The films in my life. New York, NY: Simon and
Schuster 1978, S. 161ff.
Combat special. In: Film Review, 41, Aug. 2002.
Rezensionen II:
Today's Cinema 79,6621, 29.10.1952, S. 14.
The Film Daily 103,87, 6.5.1953, S. 6.
Variety, 6.5.1953.
The Hollywood Reporter 124,14, 6.5.1953, S. 3.
Today's Cinema 80,6757, 13.5.1953, S. 10.
Time, 18.5.1953.
Films in Review 4,6, June/July 1953.
Der Spiegel, 27.1. 1960.
Filmdienst, 10, 1960.
Film Criticism 1,3, Dec. 1976, S. 19-25.
The Listener 117,3010, 7.5.1987, S. 30.
Sight and Sound 2,1, May 1992, S. 69.
Sabrina
Sabrina
USA 1954
Taylor, Samuel: Sabrina Fair or a woman of the
world. A romantic comedy. New York: Random
House 1954, viii, 182 S.
Auch: London: Heinemann 1955. (The Drama Library.).
Neuausg.: New York: Dramatists Play Service 1983,
85 S. (Dramatists Play Services.). - Zuerst 1955.
Auch: Sabrina Fair, a romantic comedy. London: Samuel French 1955, 79 S., 1 Taf. (French's Acting Edition. 348.).
Zuerst wohl in: Theatre Arts, 38,11, Nov. 1954.
Auch in: Theatre. Ed. by John Chapman. New York:
Random House 1954.
Dt., Theateradaption: Taylor, Samuel / Gilbert, Elizabeth: Sabrina. / Sabrina fair. Komödie in vier Akten.
Berlin: Bloch [1955], 185 S.
Filmprogramme und Bildbände:
[Programmheft:] Illustrierte Filmbühne, 2581, 1954.
Repr. in: Illustrierte Filmbühne. 1. 50 Hollywood-Filme. München: Monika Nüchtern 1976.
Shaw, Mark / Shaw, Juliet Cuming: Charmed by Audrey. Life on the set of SABRINA. Photographs by
Mark Shaw. Foreword by Juliet Cuming Shaw. San
Rafael, Cal.: Insight Editions 2008, 126 S.
Bildband. Life magazine assigned one of its top young
photographers, Mark Shaw, to shoot a feature, and he
spent weeks with the star on and around the set. Shaw's extraordinary level of access resulted in an amazing array of photos and over 60 rolls of film that captured the budding ingénue's charm and grace on set
and in everyday life. The images chronicled Hepburn
waking up at home, having her hair washed at the beauty parlor, reading, relaxing, studying the script,
chatting with her costars and director Billy Wilder,
and acting in one of her most famous roles. Through
the handful of photographs published in Life for the
Sabrina article have become iconic images of Hepburn, the majority of the negatives were misplaced and
never published. Rediscovered 50 years later, these
photographs offer a stunning visual biography of Hepburn's youth and rising star.
Analysen:
Studi sul Cinema 33, Nov./Dec. (=329/330) 1982, S.
529-535.
Bosser, Gaëlle: Les Différences sociales: Un
Obstacle insurmontable? (Sabrina et La Garçonnière
de Billy Wilder). In: Bantcheva, Denitza (ed.): L'Ecran amoureux. Condé-sur-Noireau,: Corlet 2003, S.
12-24.
Subjects: love; social conventions; liberation; Wilder,
Billy; SABRINA; THE APARTMENT. Analysis of
two of Billy Wilder's films, SABRINA and The
APARTMENT where romance trancends social barriers.
Gross, Robert F.: Isn't It Romantic? Some Shots
from SABRINA. In: Guilbert, Georges-Claude (ed.):
Literary Readings of Billy Wilder. Newcastle upon
Tyne: Cambridge Scholars 2007, S. 42-66.
Moseley, Rachel: Trousers and Tiaras: Audrey Hepburn, a Woman's Star. In: Feminist Review, 71, 2002,
S. 37-51.
Smith, Dina M.: Global Cinderella: SABRINA
(1954), Hollywood and Postwar Internationalism. In:
Cinema Journal 41,4, 2002, S. 27-51.
On the discourses on U.S. postwar foreign policy that
have found their way into Hollywood fare, particularly
Billy Wilder's Cinderella films, such as SABRINA
(1954).
Starks, Lisa S.: Educating Eliza: fashioning the model woman [...]. In: Post Script 16,2, April 1997, S.
44-55.
An analysis of the Pygmalion story referring to PYGMALION (1938), MY FAIR LADY (1964), SABRINA (1954) and (1995) and PRETTY WOMAN (1990)
as Hollywood's representation of feminine allure.
Tesarik, Andreas: SABRINA. In: Maske und Kothurn 43,4, 2000, S. 57-64.
Wood, Gerald C.: Gender, caretaking, and the three
SABRINA's. In: Literature/Film Quarterly 28,1,
2000, S. 72-77.
How the play and the two film versions of SABRINA
have the trappings of a Cinderella story, but Sabrina's
resources make redemption by a man unnecessary.
The most recent version is less interesting as a work of
art than a document of 1990s victim culture.
Rezensionen I:
A.B.: Rez. In: Der Abend, 19.2.1955.
Bernal, Jordi: Rez. In: Dirigido Por, 298, Febr. 2001,
S. 51.
Buckley, Christopher: Sabrina pere. In: The New
Yorker 71, 27.11.1995, S. 38.
Collins, Amy Fine: When Hubert met Audrey. In:
Vanity Fair, 424, Dec. 1995, S. 166-176, 180-182.
Discusses the collaboration between Audrey Hepburn
and Hubert de Givenchy which started when he dressed her for SABRINA.
23.9.1954.
Doniol-Valcroze, Daniel: Rez. In: Cahiers du Cinéma, 45, März 1955.
e.h. (=Erika Haala): Rez. In: Filmdienst, 49, 1954.
Fenin, Giorgio N.: Partono per la luna. In: Cinema
nuovo: Rassegna quindicinale 3,44, 10.10.1954, S.
232-233.
fv. (=Franziska Violet): Rez. In: Süddeutsche Zeitung, 18.11.1954.
Greene, Ray: Rez. In: Boxoffice 131, Dec. 1995, S.
58.
H.H. (=Henry Hart): Rez. In: Films in Review 5,7,
Aug.-Sept. 1954.
Hr.: Rez. In: Neue Zürcher Zeitung, 5.3.1955.
James, Christine: Rez. In: Boxoffice 131, Dec. 1995,
unpag., zwischen S. 40 u. 50.
K.Nf. (=Karena Niehoff): Rez. In: Tagesspiegel,
20.2.1955.
S. 26.
Koll, Horst-Peter: Es war einmal. Die zwei Welten
der SABRINA. In: film-dienst 49,3, 1996, S. 10-12.
Lozano, José Miguel: Rez. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 140141.
Lytal, Cristy: What is the perfect disclocation comedy? In: Premiere 17,8, May 2004, S. 30.
Director Gary Winick discusses why he thinks Billy
Wilder's SABRINA is the perfect 'dislocation comedy'
(when a character is thrown into a new world).
Matthews, Peter: Rev. In: New Yorker 62,27,
25.8.1986, S. 12.
Matthews, Peter: Rez. In: Sight and Sound, NS 6,
Febr. 1996. p. 53.
Sydney Pollack's SABRINA is less nastily ambiguous
and also less interesting than the original 1954 film directed by Billy Wilder. Although it is actually a good
deal more likeable than its predecessor, a defanged
class satire might not be what we want. Pollack and
the writers have attempted to humanize the plutocratic
Larrabee family and have made the servants into a jolly, freethinking crew. These coy, democratizing gestu-
res only emphasize the obsolescence of the whole enterprise. [Art Index]
2.10.1954.
Norman, Barry: Rez. In: Radio Times 288,3758,
3.2.1996, S. 42.
Compares the 1995 SABRINA with the Billy Wilder
original.
Bulletin 21,248, Sept. 1954, S. 131
Reisz, Karel: In Brief - Sabrina Fair. In: Sight and
Sound 24,2, Oct. 1954, S. 91.
1.1.1954, S. 63.
Stivers, Cyndi: Scions of the times. In: Premiere 9,
Nov. 1995, S. 68-73+.
Viviani, Christian: SABRINA: Voyage à deux. In:
Positif, 420, 1996, S. 27-28.
Walsh, Moira: Rev. In: America 91,26, 25.9.1954, S.
631.
Weinberg, Hermann G.: Ad Hollywood piace l'ipocrisia. In: Cinema: Quindicinale di divulgazione cinematografica 7,145, 25.11.1954, S. 676-678.
Ylanen, Helena: Rez. In: Filmihullu, 6, 1995, S. 14.
Rezensionen II:
The Hollywood Reporter 126,20, 2.10.1953.
Films in Review 5,7, Aug. 1954, S. 361.
The Hollywood Reporter130,31, 2.8.1954, S. 3.
Variety, 4.8.1954.
Today's Cinema 83,7070, 6.8.1954, S. 6.
Time, 30.9.1954.
Téléciné, 50, July 1955.
The Listener 122,3126, 10.8.1989, S. 35.
Films and Filming, 1,1, Oct. 1954.
Filmovy Prehled, 5, May 2002, S. 23, 24.
The Seven Year Itch
Das verflixte 7. Jahr
USA 1955
Axelrod, George: The seven year itch. A romantic
comedy. New York [...]: Random House 1953, 149 S.
Repr.: London: Heinemann,1954, 67 S.
Auch: New York: Dramatists Play Service [1956], 76
S.
Auch in: Best American plays. 4. 1951-1957. Ed. with
an introd. by John Gassner. 10th print. New York, NY:
Crown 1975.
Auch in: Theatre Arts, 38, Jan. 1953.
Auch in: Theatre. Ed. by John Chapman. New York:
Random House 1954.
Materialien:
Marilyn Monroe as the girl. The candit picture-story
of the making of THE SEVEN YEAR ITCH. Foreword by George Axelrod; Photographs by Sam
Shaw. New York: Balantine Books 1955, 126 S.
Analysen:
Banner, Lois W.: The Creature from the Black Lagoon: Marilyn Monroe and Whiteness. In: Cinema
Journal 47,4, 2008, S. 4-29.
Erwitt, Elliott: THE SEVEN YEAR ITCH. Billy
Wilder 1955. In: Magnum sul set: il cinema visto dai
grandi fotografi. / Magnum photographers on film
sets. / Les photographes de Magnum sur les plateaux de tournage. Introduction, Alberto Barbera;
texts, Paolo Mereghetti, Stefano Boni. Milano: Silvana Ed. 2011, 167 S. + 1 DVD.
[Catalog of an exhibition held at Mole Antonelliana,
May 26-Sept. 25, 2011.]
Cinema 33, Nov./Dec. (=329/330) 1982, S. 553-558.
Jenkins, Henry: The amazing push-me/pull-you text:
cognitive processing, narrational play and the comic
film. In: Wide Angle 8,3/4, 1986, S. 35-44.
Smith, Graham: The Subway Grate Scene in THE
SEVEN YEAR ITCH; "The staging of an Appearance-As-Disappearance." In: Cinemas 14,2-3, Spring
2004, S. 214ff.
The article examines the context of the subway grate
scene, starring Marilyn Monroe. The author suggests
that the image illuminates the iconic nature of the actress Marilyn Monroe as well as representing a com-
mon theme in literature, the revelation of women's underwear.
Interviews:
Kirkham, Pat: Saul Bass and Billy Wilder: in conversation. In: Sight and Sound 5,6, June 1995, S. 1821.
Billy Wilder and Saul Bass discuss their experience of
the shooting and design of film titles and posters, and
film inserts. Makes particular reference to THE SEVEN YEAR ITCH.
Rezensionen I:
1996, S. 170-173.
Barnes, Peter: Rez. In: Films and Filming 2,1, Oct.
1955.
Chaumeton, Etienne: Rez. In: Cinéma (paris), 11,
Mai 1955.
Conqueteau, Pierre: Sept ans de réflexion, de Billy
Wilder. In: Temps modernes 11, 1955/56, S. 1530.
Courant, G.: Rez. In: Cinéma 82 C82 (=279) Mars
1982, S. 81.
4.6.1955.
Demeure, Jacques: Rez. In: Positif, 17, Juin 1956.
[DP]: Rez. In: Empire, 126, Dec. 1999, S. 156.
E.K. (=Eberhard Krämer): Rez. In: Evangelischer
Filmbeobachter, 29, 1955.
Fenin, Giorgio N.: L'anno dei re-makes. In: Cinema
nuovo: Rassegna quindicinale 4,62, 1955, S. 14-15.
Fenin, Georg N.: Rez. In: Film Culture 1,4, Summer
1955.
Freixas, Ramon: LA TENTACIÓN VIVE ARRIBA /
AMANTES. Barcelona: Dirigido por, D.L. 1996, 140
S.
Über THE SEVEN YEAR ITCH und AMANTES (Vicente Aranda).
K.Nf. (=Karena Niehoff): Rez. In: Tagesspiegel,
22.9.1955.
Kael, Paulin: Rev. In: New Yorker 66,22, 16.7.1990,
S. 23.
Lachenay, Robert: Rez. In: Cahiers du Cinéma, 57,
Mars 1956.
11.6.1955.
McMahon, Gary F.: Frame grab. In: Sight and
Sound 16,4, April 2006, S. 32-34.
A description of trailer out-takes that did not feature in
the final release of films made between 1940s through
1960s, including The SEVEN YEAR ITCH.
Mobilio, Albert: Scratching Tom Ewell's Itch. In: All
the available light: a Marilyn Monroe reader. Ed. by
Yona Zeldis McDonough. New York: Simon &
Schuster 2002, S. 53-59.
Bulletin 22,260, Sept. 1955, S. 138.
Simpson, Paul:: Rez. In: Box, 3, Aug. 1997, S. 20.
1.1.1955, S. 84.
Sst. (=Sigrid Schmitt): Rez. In: Frankfurter Rundschau, 14.2.1972.
Truffaut, François: Rez. In: Cahiers du Cinéma, 57,
März 1956.
Repr. in Truffauts: Les films de ma vie. Paris: Flammarion 1975.
Dt. in: Die Filme meines Lebens. München. Hanser
1976.
Taschenbuchausg.: München: dtv 1979 (dtv. 1449.).
Engl.: The films in my life. New York, NY: Simon and
Schuster 1978, S. 159-161.
W.Ba. (=Werner Barzel): Rez. In: Filmdienst, 28,
1955.
Rezensionen II:
Variety, 8.6.1955.
Time, 13.6.1955.
Today's Cinema 85,7319, 28.7.1955, S. 7.
Stuttgarter Zeitung, 24.9.1955.
Cinema: Quindicinale di divulgazione cinematografica 8,157, 25.12.1955, S. 1058-1059.
The Listener 116,2991, 18.12.1986, S. 65.
The Spirit of St. Louis
Lindbergh – Mein Flug über den Ozean
USA 1957
Vorlage:
Lindbergh, Charles Augustus: The Spirit of St. Louis.
New York: Scribner 1953, 562 S.
Auszüge als „33 hours to Paris“ vorveröffentlicht in:
Saturday Evening Post, 1953.
Dt.: Mein Flug über den Ozean. Übers. v. Hans J.
Soehring. Berlin [...]: Fischer 1957, 569 S. - Zuerst
1954. - Als Taschenbuch: Frankfurt: Fischer 1956 (Fischer-Bücherei. 125.).
Holländ.: De brede zee. Met de "Spirit of St. Louis"
over de oceaan. Bewerkt en ingeleid door A. Viruly.
Vert. uit het Engels door J. Baggerman. Amsterdam
[...]: Elsevier 1953, 304 S.
Analysen:
Fontanel, Rémi (dirigé par): Biopic - de la réalité à
la fiction. Condé-sur-Noireau: Corlet 2011, 221 S.
(CinémAction. 139.).
Taylor, Henry McKean: Nicht-lineares Erzählen in
der klassisch-geschlossenene Form. In seinem: Rolle
des Lebens. Die Filmbiographie als narratives System. Marburg: Schüren 2001, S. 127-134 (Zürcher
Filmstudien. 8.).
Rezensionen I:
Bourget, Jean-Loup: Lindy, l'anti-Hildy. In: Positif,
271, Sept. 1983, S. 37-39.
Brown, Royal S.: SPIRIT OF ST. LOUIS. Original
film soundtrack recording. In: High Fidelity and
Musical America 28, March 1978, S. 112.
Butler, Rupert: Rez. In: Films and Filming 3,9, June
1957.
Castello: Rez. In: Bianco e Nero 18,11, Nov. 1957,
S. 47.
C.K.: Rez. In: Filmdienst, 24, 1957.
Cohen, Clelia: L'ODYSSEE DE CHARLES LINDBERGH de Billy Wilder. In: Cahiers du Cinéma,
526, Juli/Aug. 1998, S. 14.
Craener, Vera: Rez. In: Tagesspiegel, 26.6.1957.
22.2.1957.
F.H.: Rez. In: Positif 3,24, May 1957, S. 51.
-gi: Rez. In: Evangelischer Filmbeobachter, 22,
1957.
Gillett, John: Rez. In: Sight and Sound 27,1, Summer 1957.
Gobo: Rez. In: Welt der Arbeit, 20.8.1957.
Hart, Henry: Rez. In: Films in Review 8,3, March
1957, S. 126.
Kotulla, Theodor: Rez. In: Filmkritik, Juli 1957.
MacCarten, John: Airborne Odysseus. In: The New
Yorker 33,2, 2.3.1957, S. 86.
P.J.D. (=Peter John Dyer): Rez. In: Monthly Film
Bulletin 24,282, July 1957, S. 85.
1997, S. 155-159.
1.1.1957, S. 81.
Thomas, Tony: Remembering Franz Waxman. In:
Cue Sheet 6,2, 1989, S. 63-65.
v.P. (=Hans von Przychowsky): Rez. In: Tagesspiegel, 23.6.1957.
630.
-witz (=Günther Kriewitz): Rez. In: Stuttgarter Zeitung, 23.5.1957.
Rezensionen II:
Variety, 20.2.1957.
The Film Daily 11,35, 20.2.1957, S. 8.
Time, 4.3.1957.
Film Bild Ton 7,1, April 1957, S. 27-31.
Today's Cinema 88,7781, 22.5.1957, S. 10.
Daily Film Renter, 7386, 22.5.1957, S. 3.
American Cinematographer 38,6, June 1957, S. 366.
Shooting aerial scenes.
Sight and Sound 27,1, July 1957, S. 38.
Filmforum Emsdetten) 6,11, Aug. 1957.
Bianco e Nero 18,11, Nov. 1957, S. 47.
Positif, 271, Sept. 1983, S. 37-39.
Love in the Afternoon
Ariane – Liebe am Nachmittag
USA 1957
Analysen:
Sklar, Robert: LOVE IN THE AFTERNOON: A Cinematic Exposure of a 1950s Myth. In: Literature
Film Quarterly 16,1, 1988, S. 65ff.
Throne, Marilyn: LOVE IN THE AFTERNOON: A
Cinematic Exposure of a 1950s Myth. In: Literature
Film Quarterly 16,1, 1988, S. 65-73.
Rezensionen I:
Why not be in Paris? In: Newsweek, 26.11.1956.
Drehbericht.
Baker, Peter G.: Rez. In: Films and Filming 3,12,
Sept. 1957.
Castello: Rez. In: Bianco e Nero 18,11, Nov. 1957,
S. 47.
24.8.1957.
Crowe, Cameron: Personal Pick. In: Premiere 6,7,
March 1993, S. 97.
Cameron Crowe writes about his favourite scene in
LOVE IN THE AFTERNOON.
Cutts, John: Rez. In: Sight and Sound 27,2, Autumn
1957, S. 94.
Donck, Carel: Rez. In: Skrien, 165, April/May 1989,
S. 5.
Fenin, George N.: Rez. In: Film Culture 3,4, Nov
1957, S. 18.
Foster, Frederick: High key vs. low key. In: American Cinematographer 38,8, Aug. 1957.
Über die Kameraarbeit.
George, Manfred: Rez. In: Tagesspiegel, 8.9.1957.
Gillett, John: Wilder in Paris. In: Sight and Sound
26,3, Winter 1956-57.
Drehbericht.
Givenchy, Hubert de: Souvernirs d'Audrey Hepburn.
In: Positif, 578, April 2009, S. 60-63.
Costume designer Hubert de Givenchy recalls his
work as Audrey Hepburn's costumes designer in
LOVE IN THE AFTERNOON and other films.
Hamburger, Philip: Rez. In: The New Yorker,
31.8.1957.
H.H. (=Helmut Haffner): Rez. In: Evangelischer
Kuyper, Eric de: Fragiel. In: Skrien, 176,
Febr./March 1991, S. 46.
Legrand, Gérard: Ingenue mais pas trop. In: Positif,
365/366, Juli/Aug. 1991, S. 103-105.
Losilla, Carlos: Rez. In: Dirigido Por, 266, March
1998, S. 70-71.
M:PL (=Paula Linhardt): Rez. In: Filmdienst, 45,
1957.
Niehoff, Karena: Rez. In: Tagesspiegel, 3.11.1957.
Auch in Niehoffs: Stimmt es - stimmt es nicht? Herrenalb: Erdmann 1962.
Parmion, Serge: Rez. In: Cahiers du Cinéma 13,73,
July 1957, S. 51.
Bulletin 24,284, Sept. 1957, S. 111.
Phipps, Courtland: Rez. In: Films in Review 8,7,
Aug.-Sept. 1957.
Pitman, R.: Rev. In: Video Librarian 17,3, May/June
2002, S. 60.
1993, S. 40-42.
-rg: Rez. In: Süddeutsche Zeitung, 11.10.1957.
Roth-Bettoni, Didier: Rez. In: La Revue du
Cinéma/Image et Son, 472, June 1991, S. 44.
Serrano de Haro, Amparo: Rez. In: Nickel Odeon:
Revista trimestral de cine, 10, Primavera 1998, S.
146-149.
1.1.1957, S. 48.
Wigston, Nancy: Rev. In: New Yorker 65,22,
17.7.1989, S. 22.
Rezensionen II:
Films and Filming 3,5, Febr. 1957.
The Film Daily 111,106, 3.6.1957, S. 4.
Variety, 5.6.1957.
Newsweek, 1.7.1957.
Time, 15.7.1957.
Positif, 25-26, Juli-Aug. 1957.
Today's Cinema 89,7826, 25.7.1957, S. 10.
Daily Film Renter, 7431, 25.7.1957, S. 6.
Films in Review 8,7, Aug. 1957, S. 352.
American Cinematographer 38,8, Aug. 1957, S. 506.
Cinema nuovo: Rassegna quindicinale 6,116,
15.10.1957, S. 202-203.
Bianco e Nero 18,11, Nov. 1957, S. 47.
Witness for the Prosecution
Zeugin der Anklage
USA 1957
Christie, Agatha: Witness for the prosecution. A play
in three acts. New York, NY [...]: French 1954, 74 S.
(French's Acting Edition. 648.).
Auch in: Van Druten, John / Hunter, Norman C. (eds.):
Famous plays of 1954. [...] London: Gollancz 1954,
592 S.
Auch in: Witness for the prosecution & selected plays.
London: HarperCollins 1995, 348 S.
Dt.: Zeugin der Anklage. Kriminalstück in drei Akten.
Aus d. Engl. übertr. von Charles Regnier. München
[...]: Desch [1960], 120 S.
[Romanfassung:] Witness for the prosecution. New
York: Dell 1976, 192 S.
Dt.: Zeugin der Anklage. Einzig berecht. Übertr. aus d.
Engl. von Maria Meinert. Bern/Stuttgart/Wien Scherz
1959, 189 S.
Buchclub-Ausgabe: [Gütersloh]: Bertelsmann Lesering [1960], 126 S. (Kleine Lesering-Bibliothek. 41.).
Auch Taschenbuch-Ausgabe: Bern [...]: Scherz
[1962], 191 S. (Die schwarzen Kriminalromane. 146.).
Taschenbuchausg.: Frankfurt: Fischer 2006, 172 S.
(Fischer Taschenbuch. 17462.).
Analysen:
Guéry, Christian: Justices à l'écran. Paris: P.U.F.,
Presses universitaires de France, 2007, 302 S.
(Questions judiciaires.).
Darin: 5. Témoin à charge de Billy Wilder : l'avocat
dans le prétoire.
Hudelet, Ariane: Searching For Truth in WITNESS
FOR THE PROSECUTION. In: Literary readings of
Billy Wilder. Ed. by Georges-Claude Guilbert. Newcastle: Cambridge Scholars Publ. 2007, S. 135-154.
Wesling, Wayne T.: Trial as theater: WITNESS FOR
THE PROSECUTION (1957). In: Strickland, Rennard / Foster, Teree / Banks, Taunya (eds.): Screening justice - the cinema of law: significant films of
law, order and social justice. Buffalo, NY: Hein
2006, S. 131-147.
Rezensionen I:
Becker, Rolf: Rez. In: Filmkritik, April 1958.
Ciaccio, Giacinto: Rez. In: Rivista del cinematografo 31,4, April 1958, S. 140.
Cohen, Meg: Rev. In: New Yorker 34,4, 15.3.1958,
S. 14.
Cremonini, Giorgio: Rez. In: Cineforum 23, Aprile
(=223) 1983, S. 68-71.
7.2.1958.
Cutts, John: Rez. In: Films and Filming, 4,6, March
1958.
Nachdr.: Films and Filming 9,6, March 1963.
Downing, Robert: Rez. In: Films in Review 9,3,
March 1958.
Feinstein, Herbert: Rez. In: Film Quarterly 12,1, Autumn 1958.
F.H.: Rez. In: Cahiers du Cinéma, 81, Mars 1958.
-ger (=Georg Ramsegger): Rez. In: Die Welt,
8.3.1958.
Ginsberg, Merl: Rev. In: New Yorker 34,7, 5.4.1958,
S. 16.
Goelz, Else: Rez. In: Stuttgarter Zeitung, 1.3.1958.
Groll, Gunter: Rez. In: Süddeutsche Zeitung,
23.4.1958.
Hickethier, Knut: Rev. In: Filmgenres: Kriminalfilm.
Hrsg. v. Knut Hickethier. Stuttgart: Reclam 2005, S.
130-136.
Honeycutt, Kirk / Byrge, Duane: Rev. In: New Yorker 63,45, 28.12.1987, S. 30.
Hulse, E.: Rev. In: New Yorker 34,2, 1.3.1958, S. 16.
K.B. (=Klaus Brüne): Rez. In: Filmdienst, 11, 1958.
Kirst, Hans Hellmut: Rez. In: Münchener Merkur,
23.4.1958.
April 1998, S. 36-45.
Marías, Miguel: Rez. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 150-151.
Martin, Peter: Rez. In: Filmforum (Emsdette) 7,6,
Juni 1958.
15.2.1958.
Ménégaldo, Gilles: La justice en question: retournements et subversions dans 'Témoin à charge de Billy
Wilder'. In: CinémAction, 105, Oct. 2002, S. 111119.
Themenheft über La Justice à l'écran.
Neuhaus, Mel: Rev. In: Sound & Vision 67,3, April
2002, S. 109.
Pickard, Roy: Rez. In: Radio Times 237,3082,
4.12.1982, S. 13.
Ph.H. (=Penelope Houston): Rez. In: Monthly Film
Bulletin 25,289, Febr. 1958, S. 18.
P.K. (Pauline Kael): Rev. In: New Yorker 66,36,
22.10.1990, S. 37.
P.W.: Rez. In: Film Culture 4,1, Jan 1958.
Reid, John: Howard: Rez. In: Reid‘s Film Index, 12,
1993, S. 168-170.
Ruppert, Martin: Rez. In: Frankfurter Allgemeine
Zeitung, 1.3.1958.
1.1.1957, S. 99.
Wald, Malvin: Witness for the perfectionist. In:
Creative Screenwriting 9,4, July 2002, S. 62.
Walsh, Moir: Rev. In: America 98,19, 15.2.1958, S.
577-.
Wigston, Nancy: Rev. In: New Yorker 64,49,
23.1.1989, S. 18.
Wk (=Mechthild Winkler): Rez. In: Evangelischer
Rezensionen II:
The Film Daily 112,103, 27.11.1957, S. 6.
Variety, 4.12.1957.
Cinema nuovo: Rassegna quindicinale 6,120-212,
15.12.1957, S. 308.
The Daily Cinema, 7942, 13.1.1958, S. 4.
Time, 27.1.1958.
New Yorker 34,14, 24.5.1958, S. 14.
New Yorker 34,27, 23.8.1958, S. 12.
The Listener 124,3180, 30.8.1990, S .34.
Sight and Sound 3,6, June 1993, S. 70.
Some Like It Hot
Manche mögen’s heiß
USA 1959
Drehbuch:
HOT. A screenplay. London: Hamilton & Stafford
1959, 143 S. (Panther Book. 937.).
Zugl.: New York: New American Library 1959, 144
S., 8 Taf. (Signet Books. S 1656.).
Repr.: [For educational use only.] Leamington Spa:
Old Manor Farm 1959, 156 S. (Script international.).
[Rev.:] Honeycutt, Kirk: Rev. In: Hollywood Reporter
(International Edition) 370,39, 6.11.2001, S. 16.
[Drehbuch.[ In: Thomas, Sam (ed.): Best American
Screenplays. 2. Complete Screenplays. New York:
Crown 1990, S. S. 82-146 (Complete Screenplays.
2.).
Schnauber, Cornelius (ed.): SOME LIKE IT HOT:
MANCHE MÖGEN'S HEISS: Billy Wilder; I.A.L.
Diamond. [Drehbuch.] Wien: Europaverlag 1986,
172 pp.
HOT: screenplay. Hrsg. von Reinhard Gratzke.
Stuttgart: Reclam 2008, 246 S. (Reclams UniversalBibliothek: Fremdsprachentexte. 19753.).
Zuerst: Wien [...]: Europaverlag 1986, 171 S.
Span.: CON FALDAS Y A LO LOCO. 2 ed. Madrid:
Plot 2007, 165 S.
Materialien:
Curtis, Tony / Vieira, Mark A.: The making of
SOME LIKE IT HOT. My memories of Marilyn
Monroe and the classic American movie. Hoboken,
N.J.: Wiley 2010, viii, 232 S.
Analysen:
Barnmum, Michael: Laurie Mitchell. In: Filmfax,
103, July 2004, S. 54-58, 128.
Interview with actress Laurie Mitchell who discusses
her various movie roles in the 1950s, including her undredited role as Mary Lou (the trumpet player) in Billy
Wilder's SOME LIKE IT HOT.
Ballester Añíon, Rafael: Con faldas y a lo loco. Billy
Wilder (1959).Valencia: Nau Llibres [....] 2000, 102
S. (Guia para ver y analizar.).
Biltereyst, Daniel: Censorship, negotiation, and
transgressive cinema: DOUBLE INDEMNITY,
SOME LIKE IT HOT and other controversial movies in the USA and Europe. In: Billy Wilder, Movie-
maker: Critical Essays on the Films. Ed. by Karen
McNally. Jefferson, NA: McFarland 2011, S. 145160 (Performing Arts/Film.).
Censorship, production and distribution problems of
Billy Wilder's key movies DOUBLE INDEMNITY
and SOME LIKE IT HOT and some other controversial movies in the USA and Europe.
Cardullo, Bert: The Dream Structure of SOME
LIKE IT HOT. In: Etudes Anglaises 48,2, April-June
1995, S. 193-197.
Cardullo, Bert: Farce, Dreams, and Desire: SOME
LIKE IT HOT Re-viewed. In: The Cambridge Quarterly 39,2, June 2010, S. 142-151.
SOME LIKE IT HOT (1959) is the best film by the
last European director (Billy Wilder) to flourish in the
United States. It is the best film of the last great sex
star (Marilyn Monroe) created by Hollywood. It is the
last of the carefree American comedies that sprang up
when sound came in, bloomed through the thirties,
and had a revival after World War II. And it is the last
really good film farce produced in the United States to
date. This essay explores the farcical element in
SOME LIKE IT HOT, in addition to applying to the
film the premise that, like dreams, farces show the disguised fulfilment of repressed wishes.
Carvera, Terrell: Sex, gender and heteronormativity:
Seeing SOME LIKE IT HOT as a heterosexual dystopia. In: Contemporary Political Theory 8, 2008, S.
125-151.
Billy Wilder's classic film SOME LIKE IT HOT
(1959) prefigures Judith Butler's concept of performativity in relation to sex, gender and sexuality. Butler
introduced this in Gender Trouble (1990), demonstrating that sex, gender and sexuality are naturalized effects of citation and repetition. In that text she explains that denaturalization is visibly demonstrated by
drag. Later in Bodies that Matter (1993) she argues
that drag in ‘Some Like It Hot’ does not denaturalize
heterosexuality, but rather fortifies it. What then for
Butler divides denaturalizing drag from non-denaturalizing drag? Butler locates denaturalizing drag in the
film ‘Female Trouble’ (dir. John Waters, 1974), where
Divine's drag-queen persona satirizes gender in a hyperbolic performance. However, Butler misconstrues
the cross-dressing performances in ‘Some Like It Hot’
as drag, which are better understood as instances of
theatrical disguise. Narrative analysis reveals that all
the characters in ‘Some Like It Hot’ function within a
dystopian critique of heteronormativity. Because the
film takes a performative view of sex, gender and sexuality, it can validate three queer couples who defy
the strictures of heterosexual romance. Butler thus
overlooks a discourse of critique and destabilization
alternative to gay perspectives. Current developments
in sexual politics, broadly conceived, track both Butle-
rian concepts of performativity and dystopian critiques
of heteronormativity.
Castle, Alison / Auiler, Dan / Wilder, Billy (eds.):
Billy Wilder's SOME LIKE IT HOT – the funniest
film ever made. The complete book. Köln: Taschen
2010, 381 S.
Großformatiger Bildband.
Zuerst 2001.
Burnett, Allison: A walk on the Wilder side. In: Variety 384,8, 8.10.2001, S. 71.
Burnett, Allison: Rev. In: Variety Movie Reviews,
5.10.2001, S. 15.
Cohan, Steven: Cary Grant in the fifties: indiscretions of the bachelor's masquerade. In: Screen 33,4,
1992, S. 394-412.
Cohan, Steven: Masked men. Masculinity and the
movies in the fifties. Bloomington [...]: Indiana University Press 1997, xxi, 346 S.
Cohen, Alain J.J.: Like It Hot: Billy Wilder's Virtuoso Strategies of Laughter and Play. In: Interdigitations. Essays for Irmengard Rauch. Ed. by Gerald F.
Carr, Wayne Harbert, & Lihua Zhang. New York:
Peter Lang 1998, S. 667-679.
Curtis, Tony / Vieira, Mark A.: SOME LIKE IT HOT.
Me, Marilyn and the Movie. London: Virgin Books
2009, 232 S.
US-Ausgabe: The making of SOME LIKE IT HOT. My
memories of Marilyn Monroe and the classic American movie. Hoboken, NJ: Wiley 2009, viii, 232 S.
Foster, David William: SOME LIKE IT HOT: Some
Profer Queer. In: Bagoas: Estudos Gays-Genero e
Sexualidades 1,1, July 2007, S. 211-230.
ALPC (QUANTO MAIS QUENTE MELHOR -- THE
HOTTER THE BETTER -- the Brazilian title) is not a
gay film, but bears a fundamental relevance to the history of queer cinema. Billy Wilder presents in the film
a 'historical' situation that provokes the need of camouflage, through cross-dressing, of a couple of musicians to escape the mafia. The consequence is the liberation -- by the first time in the North-American cinema -- of relevant signs connected to sexual identity
and the consistency of the theme of sexual gender. The
film last words, "Nobody is perfect" registers the term
queer as a "legitimate imperfection" of the normative
heterosexuality, this represented by the character
played by Marilyn Monroe, the other by the roles of
Jack Lemmon and Tony Curtis. Adapted from the
source document.
Fried, Debra: Hollywood Convention and Film Adaptation. In: Theatre Journal 39,3, Oct. 1987, S.
294-306.
Galoppe, Raúl A.: From SOME LIKE IT HOT to
Lacan's Sexuation Theory: 'Imperfect' Explorations
of Sex, Gender, and Desire. In: Schulman, Peter /
Lubich, Frederick A. (eds.): The Marketing of Eros:
Performance, Sexuality, Consumer Culture. Essen:
Blaue Eule 2003, S. 138-150.
Guilbert, Georges-Claude / Magenham, Nicolas:
Gender in Billy Wilders SOME LIKE IT HOT. In:
Literary readings of Billy Wilder. Ed. by GeorgesClaude Guilbert. Newcastle: Cambridge Scholars
Publ. 2007, S. 67-134.
Herrmann, Anne: "Passing" women: performing
men. In: Michigan Quarterly Review 30,1, 1991, S.
60-71.
Jenn, Pierre: Certains l'aiment chaud. Billy Wilder.
Étude critique. Paris: Nathan 1992, 111 S. (Synopsis. 14.).
Lieberfeld, Daniel / Sanders, Judith: Keeping the
Characters Straight: Comedy and Identity in SOME
LIKE IT HOT. In: Journal of Popular Film and Television 26,3, Fall 1998, S. 128-135.
The writers provide a detailed reading of SOME LIKE
IT HOT, showing it to be a salient case of the undermining and (re)construction of gender categories in
Hollywood films. In this reading, they emphasize not
only the film's narrative but also its use of visual and
verbal metaphors. They also investigate how gender
disguise and transgression may be commonly intertwined with the transgression of other social categories,
especially, in this film, class identity. They conclude
by speculating about the general role of comic narrative in the construction of social identity. [Art Index]
López Piñeiro, Carlos: Carnaval, carnaval. In: Obradoiros de cine clásico. Edición a cargo de Anna
Amorós Pons. Santiago de Compostela: Tórculo /
Pontevedra: Asociación Galega de Guionistas 2003,
S. 199-212.
Martínez, María Jesús: SOME LIKE IT HOT: the
blurring of gender limits in a film of the fifties. In:
Barcelona English Language and Literature Studies,
9, 1999, S. 143-152.
Maslon, Laurence: SOME LIKE IT HOT. The official 50th anniversary companion. New York, NY: Collins Design 2009, 191 S.
Bildband.
The American Film Institute selected Billy Wilder's
SOME LIKE IT HOT as America's Funniest Movie.
Maslon (New York U. Tisch School of the Arts) relates the evolution of the 1960 comedy starring Marilyn
Monroe, Jack Lemmon, and Tony Curtis, from its
roots in an obscure 1951 German film to its setting in
prohibition-era Chicago. The oversize volume includes previously unpublished images, production anecdotes, script excerpts, further reading, and notes on its
casting, a previously undiscovered TV show pilot based on the movie, and its legacy as a drag comedy.
Rickman, Gregg: SOME LIKE IT HOT. In: The
Film Comedy Reader. Ed. by Gregg Rickman. New
York: Limelight Editions 2001, S. 237-242.
Rolston, Lorraine: SOME LIKE IT HOT. London:
Longman / York Press 2000, 88 S.
Rosario Caballero, Rodriguez: What's a title? The
strategic use of metaphor and metonymy in SOME
LIKE IT HOT. In: Journal of English Studies, 1,
1999, S. 29-44.
The aim of this paper is to call attention upon the strategic and relevant use of the polysemous nature of language as it is instantiated in film titles such as the one
in our discussion. The theoretical framework adopted
in our analysis of the concept hot in our title is that of
Cognitive Linguistics (Lakoff 1987; Langacker 1987),
which explains polysemy in terms of conceptual organisation and categorisation. We defend that the cognitive approach to lexis as an array of semantic networks
triggered by the words within them proves a useful explanation in solving a number of troublesome issues in
the analysis of short texts like titles, namely the use of
implicatures, polysemy, and the ambiguity usually resulting from both.
Sisto, Bénédicte: Mythe et représentation: Le territoire floridien dans SOME LIKE IT HOT de Billy
Wilder. In: Le Sud au cinéma: de THE BIRTH OF A
NATION à COLD MOUNTAIN. Sous la dir. de Marie Liénard-Yeterian & Taïna Tuhkunen. Palaiseau:
Les Ed. de l'École Polytechnique 2009, pp., 123-142
(Cultures, littératures et civilisations.).
Straayer, Chris: Redressing the "natural": the temporary transvestite film. In: Wide Angle 14,1, 1992, S.
36-55.
Voytilla, Stuart: Structuring The Memorable Comic
Sequence. In: Scr(i)pt 11,3, 2005, S. 72ff.
Presents guidelines to help screenwriters structure the
comic potential in every sequence they write, highlighting the comic moments in the film SOME LIKE
IT HOT, directed by Billy Wilder with screenplay by
Billy Wilder and I.A.L. Diamond. Sequences are important because they connect the smaller highlights of
the story to the larger aspects of the main story. It advises the inclusion of the concept of childishness clashing into social responsibility, in each sequence.
Welton, Shirley: Nobody's Perfect: Queer Gender
Performance in SOME LIKE IT HOT and MISS
CONGENIALITY. In: Film Matters 2,4, 2011, S.
18ff.
The article mentions how the two films features heteronormativity and queer gender performance. It discusses how masquerade of hyper-femininity provides
humor on the said films. It also cites how Marilyn
Monroe and Sandra Bullock's portrayal of their characters influences the flow of the storyline.
Whitfield, Stephen J.: The Distinctiveness of American Jewish Humor. In: Modern Judaism, 6,3, Oct.
1986, S. 245-260.
Wicke, Jennifer: Double Cross Dressing: The Politics of a Genre. In: Annals of Scholarship: An International Quarterly in the Humanities and Social
Sciences 11,4, 1997, S. 359-377.
Diversa:
Key, Sarah / Monaghan, Gail: Das Manche-mögen's-heiss-Kochbuch. Übers. aus dem Engl. von
Christian Auffhammer. Weingarten: Weingarten
1997, 64 S.
Rezensionen I:
Febr. 1989, S. 66-69.
Baker, Peter G.: Rez. In: Films and Filming 5,9,
June 1959, S. 23.
Bond, Jeff: Rez. In: Film Score Monthly 3,8, 1998,
S. 44.
Braund, Simon: Rez. In: Empire, 210, Dec. 2006, S.
198-199.
Campari, Roberto: Marilyn: dall'artificio alla finzione. In: Cinema e cinema: Materiali di studio e di intervento cinematografici 8,27-28, April-Spet. 1981,
S. 40-41.
Care, Ross: Rez. In: Scarlet Street, 40, 2000, S. 7071.
Caro, Jason: Rez. In: Film Review, 599, Nov. 2000,
S. 36.
Ciment, Michel: Rez. In: Positif, 488, Oct. 2001, S.
92-94.
-ck (=Fritz W. Schwarzbeck): Rez.: In: Evangelischer Filmbeobachter, 39,1959.
Craener, Vera: Rez. In: Tagesspiegel, 24.5.1959.
Classic Scene: SOME LIKE IT HOT. In: Premiere
11,6, Febr. 1998, S. 100.
Script of the scene where Jerry and Joe - dressed as
women - first meet Sugar.
Dayton, Jonathan / Faris, Valerie: Rev. In: Best Life
3,6, July/Aug. 2006, S. 51.
De Bernardinis, Flavio: A qualcuno piace caldo. In:
Segnocinema 19,99, Sept-Okt. 1999, S. 58.
De Fornari, Oreste: CON FALDAS Y A LO LOCO.
ENCADENADOS. Barcelona: Dirigido por [1996],
138 S.
Über SOME LIKE IT HOT und NOTORIOUS (Alfred Hitchcock).
Doniol-Valcroze, Daniel: Rez. In: Cahiers du Cinéma 17,101, Nov. 1959, S. 49-50.
Dyer, Peter John: Rez. In: Sight and Sound 28,3/4,
July 1959, S. 173.
Errigo, Angie: Rez. In: Empire, 137, Nov. 2000, S.
64.
Fitzpatrick, Ellen: Rez. In: Films in Review 10,4,
April 1959, S. 240.
Freer, Ian [...]: The ten most influential comedy
films ever made. In: Empire, Spec. Iss. „Comedy“,
June 2003.
Includes SOME LIKE IT HOT.
Freixas, Ramon: Con faldas y a lo loco. In: Dirigido
Por, 268, May 1998, S. 88-89.
Funny Pictures. In: DGA Quarterly 5,2, July 2009,
S. 66-73.
Gehring, Wes D.: The Hotter the Better. In: USA Today Magazine 140,2798, Nov. 2011, S. 63-.
Ghelli, Nino: Rez. In: Rivista del cinematografo
32,11-12, Nov-Dez. 1959, S. 375-376.
Gilson, René: Rez. In: Cinéma /Paris), 41, Nov.-Dez.
1959.
Gregor, Ulrich: Rez. In: Filmkritik, Aug. 1959.
Cinema 33,329/330, 1982, S. 553-558.
Heinemann, Kajsa: Det dekonstruerande konet. In:
Filmhaftet: Tidskrift om Film och TV 24,1/2
(=93/94), 1996, S. 104-110.
Hommel, Michel: Woman's director. In: Skrien, 176,
Febr./März 1991, S. 46-47.
Honeycutt, Kirk : Rev. In: Out 16, Spring, 2008 (=
OutTraveler), S. 66.
Horemans, Jos: Some like it Wilder! In: Film en Televisie + Video, 357, Febr. 1987, S. 39.
Houston, Penelope: Rez. In: Monthly Film Bulletin
26,305, June 1959, S. 69.
S. 60.
Kauffmann, Stanley: Rev. In: New Yorker 35,30,
12.9.1959, S. 14.
Kauffman, Stanley: Rez. In: The New Republic,
39.3.1959.
Repr. in Kauffmans: A World on Film. New York: Harper & Row 1966.
Kauffman, Stanley: Landmarks of film history:
SOME LIKE IT HOT. In: Horizon 15,1 Winter
1973.
Kelly-Saxenmeyer, Anne: Rev. In: New Yorker 35,9,
18.4.1959, S. 16.
Key, Sarah / Monaghan, Gail: Le ricette di A QUALCUNO PIACE CALDO. Torino: Lindau 1998, 64 S.
(Le ricette di. 3.).
Koehler, Robert: Rez. In: Variety 383, 21.5.2001, S.
16.
Koll, Horst Peter:: Rez. In: Filmklassiker. 2. 19471964. Hrsg. v. Thomas Koebner. Stuttgart: Reclam
1995, S. 340-344.
Korycka, Jadwiga / Zglinska, Jolanta: Pol zartem,
pol serio. In: Filmowy Serwis Prasowy 33,17/18
(=627/628), 1987, S. 27-31.
Lane, Anthony: Boys will be girls. In: The New Yorker 77, 22.10.2001, S. 72-77.
Lane, Anthony: Billy Wilder. In seinem: Nobody's
perfect. Writings from the New Yorker. New York:
Alfred A. Knopf 2002.
M.D. (=Manfred Delling): Rez. In: Die Welt,
3.10.1959.
McCarten, John: Rez. In: The New Yorker, 4.4.1959.
Macnab, Geoffrey: Rev. In: New Yorker 35,8,
11.4.1959, S. 16.
Macnab, Geoffrey: Rev. In: New Yorker 35,34,
10.10.1959, S. 16.
McQuain, Christopher: Rev. In: Just Out 25,13,
2.5.2008, S. 45.
18.8.1986, S. 14.
Medhurst, Andy: Odd Man Out. From His Cross
Dressing in SOME LIKE IT HOT, Lemmon Has Never Quite Been the Straight Guy. In: Sight and
Sound 4,6, 1994, S. 16-18.
McNary, Dave: Rev. In: New Yorker 35,12, 9.5.1959,
S. 16.
McNary, Dave: Rev. In: New Yorker 35,18,
20.6.1959, S. 16.
Peitz, Christiane: Rez. In: Jack Lemmon. Hommage.
Red. Rolf Aurich. Berlin: Henschel 1996, S. 48-49
(Internationale Filmfestspiele Berlin. Retrospektive
1996.).
Petrie, Graham: Alternatives to Auteurs. In: Film
Quarterly 26,3, Spring 1973, S. 27-35.
Pintus, Pietro [...]: A qualcuno piace caldo. In: Il
nuovo spettatore cinematografico: Rassegna mensile dei film di oggi e di ieri 1,4, Okt. 1959, S. 82-84.
Sa. (=Paul Sackarndt): Rez. In: Filmdienst, 40, 1959.
Sklar, Robert: Rev. In: New Yorker 35,20, 4.7.1959,
S. 14.
S. 14.
Strazzulla, Gaetano: Rez. In: RC / Rivista del cinematografo e delle comunicazioni sociali: Cinema,
teatro, televisione, radio, pubblicità, informazione
64,11, Nov. 1994, S. IV.
Tejero, Juan Rez. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 152-155.
V.S.: Rez. In: Cinema nuovo: Rassegna quindicinale
8,141, Sept.-Okt. 1959, S. 457.
time. In: Premiere 19,8, May 2006, S. 82-87.
Walters, Ben: Rez. In: Sight and Sound 12,2, Febr.
2002, S. 69.
Webster, Andy: Rez. In: Premiere 11, Febr. 1998, S.
100.
Weiler, A.H.: Rez. In: The New York Times,
30.3.1959.
The Apartment
Das Appartement
USA 1960
Rezensionen II:
The Hollywood Reporter 151,8 , 8.8.1958, S. 8.
Variety, 25.2.1959.
The Film Daily 115,36, 25.2.1959, S. 8.
Motion Picture Herald 214,9 , 7.3.1959, S. 181.
Time, 23.3.1959.
Newsweek, 6.4.1959.
Kinematograph Weekly,2700, 14.5.1959, S. 114.
Filmkritik, 8, Aug. 1959, S. 222.
Intermezzo 14,17, 15.9.1959, S. 10.
Filmforum (Emsdetten) 8,10, Okt. 1959.
Radio Times 236,3064, 31.7.1982, S. 11.
Cinema e cinema: Materiali di studio e di intervento
cinematografici 9,33, Okt.-Dez. 1982.
Cinema Novo, 34, March 1984, S. 34-36.
Sight and Sound 10,11, Nov. 2000, S. 71.
Analysen:
Alegre, Lui: EL APARTAMENTO / BELLE EPOQUE. Barcelona: Dirigido por, D.L. 1997, 140 S.
Drehbuch:
Garrett, George P. / Hardison, O.B., Jr. / Gelefman,
Jane R. (eds.): Filmscripts Three. New York: Irvington 1989, 610 S.
Zuerst 1972.
Wilder, Billy / Diamond, I.A.L.: THE APARTMENT.
[Drehbuch.] London: Faber 1998.
Dt.: DAS APARTMENT. Aus dem Amerikan. Wien
[...]: Europaverl. 1987, 214 S. (Die Filme von Billy
Wilder.).
Wilder, Billy: EL APARTAMENTO [guión cinematográfico]. [Traducción, Marta Heras.] Madrid: Plot
1998, iv, [2] S.,141, ix S. (Tal cual.).
Interviews:
Talk with a twosome. In: Newsweek, 20.6.1960.
Interview mit Wilder und Jack Lemmon.
Über THE APARTMENT und BELLE EPOQUE (Fernando Trueba).
Physical description: 140 p.
Bosser, Gaëlle: Les Différences sociales: Un
Obstacle insurmontable? (SABRINA et LA
GARÇONNIÈRE de Billy Wilder). In: Bantcheva,
Denitza (ed.): L'Ecran amoureux. Condé-sur-Noireau,: Corlet 2003, S. 12-24 (CinémAction. 107.).
Subjects: love; social conventions; liberation; Wilder,
Billy; Sabrina; The Apartment. Analysis of two of Billy Wilder's films, SABRINA and THE APARTMENT
where romance trancends social barriers.
Studi sul Cinema 33,329/330, 1982, S. 529-535.
Brookes, Ian / Reed, Jennifer: The Eye of Power:
Postwar Fordism and the Panoptic Corporation in
THE APARTMENT. In: Journal of Popular Film
and Television 37,4, Winter 2009, S. 150-161.
How the company Consolidated Life in THE APARTMENT represents the Fordist corporation, is represen-
ted as a panoptic organisation and how the film is an
example of a Cold War text.
Deleyto, Celestino: The Dupes Strike Back: Comedy, Melodrama and Point of View in THE APARTMENT. In: Atlantis: Revista de la Asociacion Espanola de Estudios Anglo- Norteamericanos 14,1-2,
May-Nov. 1992, S. 37-61.
Jahn, Manfred: 'Awake! Open Your Eyes!': The Cognitive Logic of External and Internal Stories. In:
Herman, David (ed.): Narrative Theory and the Cognitive Sciences. Stanford, CA: Center for the Study
of Language and Information; 2003, S. 195-213.
Subjects: narrative structure; Wagner, Richard; Wilder,
Billy; THE APARTMENT; cognitive approach; Coleridge, Samuel Taylor; 'Kubla Khan'.
Koch, Gertrud: Alle Sinnlichkeit der Macht. In:
Frauen und Film, 43 Dez. 1987, S. 5-12.
Onaindia, Mario: Por un metodo de analisis del guion cinematografico clasico. In: Archivos de la Filmoteca, 14, June 1993, S. 48-59.
Engl.: For a method of analyis of the classical cinema
script. In: Archivos de la Filmoteca, 14, June 1993, S.
211-218.
Onaindia, Mario: El guión clásico de Hollywood.
Barcelona [...]: Ed. Paidós 1996, 222 S. (Papeles de
comunicación. 16.).
Paquet-Deyris, Anne-Marie: Some Bitter Tale: Billy
Wilders THE APARTMENT. In: Literary readings
of Billy Wilder. Ed. by Georges-Claude Guilbert. Newcastle: Cambridge Scholars Publ. 2007, S. 163172.
Shonfield, Katherine: Wives and Lovers: The 1960s
Office Interior: ALFIE, THE APARTMENT, and
DARLING. In ihrem: Walls have feelings. Architecture, film and the city. London/New York: Routledge
2000.
Spector, Bert: A crack the Cold War consensus: Billy
Wilder's THE APARTMENT. In: Management &
Organizational History 4,2, May 2009, S. 187-201.
Popular culture generally, and motion pictures in particular, help shape the manner in which people view
their world. In post-war America, as giant corporations
increasingly came to dominate the economic landscape, the public had little first-hand knowledge of the
world of corporate executives. A number of corporation films helped fill that void and offered a consistently
reassuring image to moviegoers. Corporations were
both complex and challenging, yet offered the possibility of hope, even redemption. That hopeful consensus
was shattered in 1960 with the appearance of Billy
Wilder's THE APARTMENT. Instead of finding redemption within the corporation, the movie's protagonist could maintain integrity only through emancipati-
on. The requirement to create a separate peace apart
from the institutions maintaining the status quo became, during the decade of the 1960s, a recurring image.
By the 1970s, the depiction of corporate executives as
evil and villainous became more common. This article
offers a detailed analysis of the movie that helped
crack the Cold War consensus and served as a harbinger of a far less optimistic view of corporations and
their role in society.
Spector, Bert: THE MAN IN THE GRAY FLANNEL SUIT in the Executive Suite: American Corporate Movies in the 1950's. In: Academy of Management Annual Meeting Proceedings, 2007, S. 1-6.
Wojcik, Pamela Robertson: The apartment plot. Urban living in American film and popular culture,
1945 to 1975. Durham [NC] [...]: Duke University
Press 2010, xiii, 310 S., [8] Bl.
Rezensionen I:
Wilder touch. In: Life, 30.5.1960.
1997, S. 77-79.
Bianchi, Pietro / Casiraghi, Ugo / Frosali, Sergio /
Dario Zanelli: Rez. In: Il nuovo spettatore cinematografico: Rassegna mensile dei film di oggi e di ieri
2,15, Sept. 1960, S. 23-25.
Bortolussi, S.: Rez. In: Cineforum 24,239, Nov.
1984, S. 58-60.
Brett, Anwar: Rez. In: Film Review, 601, Jan. 2001,
S. 37.
Bruno, Edoardo: Rez. In: Filmcritica: Mensile di
studi cinematografici 9,101, Spet. 1960, S. 658.
Casiraghi, Ugo [...]: Rez. In: Il nuovo spettatore cinematografico: Rassegna mensile dei film di oggi e
di ieri 2,15, Sept. 1960, S. 23-25.
Castellani, Leandro: Rez. In: Rivista del cinematografo 33,9-10, Sept.-Okt. 1960, S. 260-262.
16.6.1960.
Crowe, Cameron: Billy, how did you do it? In: Sight
and Sound 15,12, Dec. 2005, S. 5.
Referring to THE APARTMENT and its concept of
comedy.
Cutts, John: Rez. In: Films and Filming 6,12, Sept.
1960, S. 5.
Delling, Manfred: Rez. In: Die Welt, 25.9.1960.
Premiere 4, Nov. 1990, S. 48+.
Diamond, I.A.L. / Wilder, Billy: Un piccolo problema nel ramo appartamenti. In: Cinema e cinema:
Materiali di studio e di intervento cinematografici
9,33, Okt-Dez. 1982, S. 22-23.
Douchet, Jean: Rez. In: Cahiers du Cinéma 19,113,
Nov. 1960, S. 58.
Dyer, Peter John: Rez. In: Monthly Film Bulletin
27,319, Aug. 1960, S. 107.
Dyer, Peter John: Rez. In: Sight and Sound 29,4,
Oct. 1960, S. 195.
Fink, Guido: Rocco e gli altri film. In: Cinema nuovo: Rassegna quindicinale 9,147, Sept.-Okt. 1960,
S. 412.
Fitzpatrick, Ellen: Rez. In: Films in Review 11,7,
Aug.-Sept. 1960.
Freixas, Ramon: Rez. In: Dirigido Por, 288, March
2000, S. 50-51.
George, Manfred: Rez. In: Stuttgarter Zeitung,
15.7.1960.
Giménez-Rico, Antonio: Rez. . In: Nickel Odeon:
156-159.
Harris, Dana: Amy-ing for the sincerest form of flattery? In: Variety 379, 31.7.2000, S. 5-6.
Heil, Douglas: Appraising THE APARTMENT. In:
Creative Screenwriting 9,4, 2002, S. 51-55.
An analysis of the story/narrative, characterizations,
language and symbols of Billy Wilder's THE APARTMENT.
H.U. (=Heinz Ungureit): Rez. In: Frankfurter Rundschau, 29.9.1960.
27.6.1960.
Koll, Hort Peter: Rez. In: Filmklassiker. 2. 19471964. Hrsg. v. Thomas Koebner. Stuttgart: Reclam
1995, S. 403-406.
Kuhlbrodt, Dietrich: Rez. In: Filmkritik, Nov. 1960.
McCarten, John: Rez. In: The New Yorker 25.6.1990.
McDonald, Dwight: Rez. In: Esquire, Aug. 1960.
Replik auf Leserbriefe in: Esquire, April 1961.
Repr. in MacDonalds: On movies. Englewood Cliffs,
NJ: Prentice-Hall 1969. Repr. 1981.
Merker, Helmut: Rez. In: Filmgenres: Melodram
und Liebeskomödie. Hrsg. v. Thomas Koebner u.
Jürgen Felix. Stuttgart: Reclam 2007, S. 159-165.
Mg. (=Wilhelm Mogge): Rez. In: Filmdienst, 39,
1960.
Moll, Dominik: Rez. In: Télérama, 2825, 6.3.2004,
S. 34.
Newman, Kim: Rez. In: Empire, 139, Jan. 2001, S.
68.
Norman, Barry: Rez. In: Radio Time, 30.1.2010, S.
33.
Patalas, Enno: Rez. In: Filmkritik, Aug. 1960.
Peitz, Christiane: Rez. In: Jack lemmon. Hommage.
Red. Riolf Aurich. Berlin: Henschel 1996, S. 52-53
1996.).
PWJ (=Peter W. Jansen): Rez. In: Evangelischer
Roos, Hans-Dieter: Rez. In: Süddeutsche Zeitung,
4.10.1960.
Schleifer, James T.: Rev. In: Metro (NZ), 341, March
2010, S. 129-.
Schlöndorff, Volker: Personal Pick: THE APARTMENT. In: Premiere 5,8, April 1992, S. 127.
About Schlöndorff‘s favourite scene in the Billy Wilder film THE APARTMENT.
Sequin, Louis / Tailleur, Roger: Rez. In: Positif, 36,
Nov. 1960.
Seuren, Güntter: Rez. In: Deutsche Zeitung (Köln),
19.9.1960.
Spiller, David: A world of Wilder. In: London Magazine 8,3, June 1968.
time. In: Premiere 19,8, May 2006, S. 82-87.
An inside look at the 25 best screenplays ever written
as chosen by the Writers Guild of America.
Tobin, Yann: L'amour l'après-midi. In: Positif, 271,
Sept. 1983, S. 39-41.
Weinstein, Gene: THE APARTMENT: Hollywood
Remakes Its Bed. In: American Quarterly 14,3, Autumn 1962, S. 500-503.
Zazzo, Marc: Rez. In: Cinéma (Paris), 51, Nov.-Dez.
1960.
Rezensionen II:
Variety, 18.5.1960.
Time, 6.6.1960.
Kine Weekly, 2755, 21.7.1960, S. 8.
Film Quarterly 13,4, Summer, 1960, S. 60.
La Cinématographie Française, 1881, 3.9.1960, S. 5.
Positif, 271, Sept. 1983, S. 39-41.
Analysis of the Card Game sequence.
The Listener 114,2924, 29.8.1985, S. 28-29.
One, Two, Three
Eins, zwei, drei
USA 1961
Interviews:
Fast talker. In: The New York Times, 4.3.1961.
Kr. (=Karl Heinz Krüger): [Gespräch mit Wilder.]
In: Der Abend (Berlin), 2.2.1961.
Analysen:
Bathrick, David.: Billy Wilder's Cold War Berlin. In:
New German Critique, 110, Summer 2010, S. 31-47.
An essay regarding the films directed by Billy Wilder
including DEATH MILLS, A FOREIGN AFFAIR, and
ONE, TWO, THREE, is presented. It states that the
film Death MILLS is a documentary which deals with
the concentration camps in Germany during World
War II. It also adds that A FOREIGN AFFAIR is a
film which tries to deny the tensions of the Cold War.
Moreover, it adds that ONE, TWO, THREE attracted
attention due to its themes pertaining to the Cold War.
Bettinger, Elfi: One, Two, Three - Billy Wilders Berlin-Filme. In: Helbig, Jörg (ed.): Welcome to Berlin:
Das Image Berlins in der englischsprachigen Welt
von 1700 bis heute. Berlin: Stapp 1987, S. 175-189.
Rezensionen I:
Amiel, M.: Rez. In: Cinéma 77,228, 1977, S. 6-65.
Bean, Robin: Rez. In: Films and Filming 8,6, March
1962, S. 31.
Belton, John: Rev. In: New Yorker 38,1, 24.2.1962,
S. 16.
Benson, Raymond: Benson turns back the clock 1961. In: Cinema Retro, 2, May 2005, S. 8-9.
Cagney, James: Cagney by Cagney. Garden City,
N.Y.: Doubleday 1976, cap. 10.
Castellani, Leandro: Rez. In: Rivista del cinematografo 35,4-5, April-Mai 1962, S. 149.
Celemenski, M.: Rez. In: Cinématographe 89, 1983,
S. 14.
Chevalier, Jacques: O.T. In: Ecran, 35, April 1975.
Drehbericht.
22.12.1961.
Dassanowsky-Harris, Robert: Billy Wilder's Germany. In: Films in Review 4,6-7, June/July 1990, S.
352-355 [292-297?].
Dyer, Peter John: Rez. In: Monthly Film Bulletin
29,338, March 1962, S. 35.
Frankel, Martha: Rez. In: Movieline, 8.4.1997, S.
70-71.
Gill, Brendan: Faster, faster! In: The New Yorker,
6.1.1962, S. 70.
Goelz, Else: Rez. In: Stuttgarter Zeitung,
30.12.1961.
Nachdr.: Jahrbuch der Filmkritik. 3. Hrsg. v. d. AG
der Filmjournalisten. Emsdetten: Lechte 1962.
Grbić, Bogdan: Fast Food, Coke & Hollywood. In:
Blimp: Zeitschrift für Film 18,4, 1991, S. 55-57.
Hart, Henry: Rez. In: Films in Review 13,1, Jan.
1962, S. 37.
HHK (=Hans Helmut Kisrt): Rez. In: Münchner
Merkur, 27.12.1961.
h-nn (=Hilde Herrmann): Rez. In: Filmdienst, 3,
1962.
Ho.: Rez. In: Evangelischer Filmbeobachter, 1,
1962.
April 1962, S. 95.
Kael, Pauline: Rez. In: Film Quarterly 15,3, Spring
1962.
Repr. in ihrem: I Lost It at the Movies. Boston, Mass.:
Little, Brown 1965.
11.12.1961.
Krüger, Karl Heinz: O.T.: In: Der Abend, 19.12.
1961.
Über die deutsche Synchronfassung.
Legrand, G.: Pour les orphelins de Marx et du CocaCola. In: Positif, 205, 1978, S. 5-64.
Lost Weekend. In: Der Spiegel, 23.8.1961.
Produktionsbericht.
Luft, Friedrich: Rez. In: Die Welt, 23.12.1961.
Luft, Herbert G.: Die stetige Karriere des Billy Wilder. In: Filmkunst: Zeitschrift für Filmkultur und
Filmwissenschaft, 100, 1984, S. 27-33.
M.: Rez. In: Die Tat (Zürich), 10.4.162.
Aug. 2004, S. 77.
Martain, Gilles: Rez. In: Il nuovo spettatore cinematografico: Rassegna mensile dei film di oggi e di ieri
4,30-31, März-April 1962, S. 240.
Newman, Kim: Rev. In: New Yorker 37,48,
13.1.1962, S. 16.
Newman, Kim : Rev. In: New Yorker 37,51,
3.2.1962, S. 16.
Newman, Ki: Rev. In: New Yorker 38,4, 17.3.1962,
S. 16.
One Tow Three Wilder. In: Show 1,2, Dez. 1961.
Photo-Essay.
pat (=Enno Patalas): Rez. In: Die Zeit, 12.1.1962.
Roy, J.: Rez. In: Cinema 86,4 (=357), 1986, S. 6.
1.1.1961, S. 63.
S. 18.
til (=Reinhold Thiel): Rez. In: Filmkritik, Jan 1962.
Wagner, Jean: Rez. In: Cinéma (Paris), 66, Mai
1962.
605.
Winge, Hans: Rez. In: Die Presse (Wien), 10.2.1962.
Zimmerman, Paul: Rez. In: Film Threat 19, Dez.
1994, S. 78.
Intervista con Jean-Pierre Melville. In: Filmcritica:
Mensile di studi cinematografici 15,151-152, NovDez. 1964, S. 618.
Rezensionen II:
Variety, 29.11.1961.
The Film Daily 119,103, 30.11.1961, S. 6.
Time, 8.12.1961.
Newsweek, 25.12.1961.
Süddeutsche Zeitung, 29.12.1961.
Monthly Film Bulletin 29,338, March 1962, S. 35.
Filmkritik,1, Jan. 1962, S. 27.
Kine Weekly, 2835, Febr. 1962, S. 23.
Films and Filming 8,6, March 1962, S. 13.
Extract from script.
Sight and Sound 31,3, July 1962, S. 154.
Sight and Sound 14,9, Sept. 2004, S. 100.
Berlin Film Festival Catalogue 56th, 9.2.2006, S.
334-335.
Screened in Special Presentation, Selling Democracy
III - Friendly Persuasion, a retrospective programme
focussing on changes occurring in Western Europe
post-World War II.
Irma la Douce
Das Mädchen Irma la Douce
USA 1963
Drehbuch:
Wilder, Billy / Diamond, I.A.L.: Das Mädchen Irma
la Douce. [Aus d. Amerikan. übertr. von Anne Uhde
u. Peter Elsholtz.] Ungekürzte Ausg. [5. Aufl.], 81.85. Tsd. Reinbek: Rowohlt 1970, 117 S. (rororo.
688.).
Dt. zuerst 1964. Amerik. Original zuerst New York
1963.
Span.: IRMA LA DULCE. Barcelona: Ediciones Geminis, D.L.1968, 206 S., [8] Taf.
Materialien:
MacLaine, Shirley: Don't fall off the mountain. New
York: Norton 1970, 270 S.
Zugleich: London [...]: The Bodley Head 1971.
Dt.: Raupe mit Schmetterlingsflügeln. Übers. v. Eva
Schönfeld. Frankfurt: Goverts, Krüger, Stahlberg
1972, 283 S., cap. 8.
Rezensionen I:
Adams, Doug: Rez. In: Film Score Monthly 3 n8
(1998, S. 44-45.
Fév. 1989, S. 66-69.
Bates, Daniel: Rez. In: Film Quarterly 17,2, Winter,
1963-1964, S. 61.
Bean, Robin: Rez. In: Films and Filming 10,6,
March 1964, S. 254.
B.J. (=Brigitte Jeremias): Rez. In: Frankfurter Allgemeine Zeitung, 16.9.1963.
Castellani, Leandro: Rez. In: Rivista del cinematografo 36,12, Dez. 1963, S. 499-500.
6.6.1963.
Douglas, Andrew J.: Rev. In: Variety Movie Reviews,
1, 1.1.1963, S. 50.
E.Kr. (=Erwin Kester): Rez. In: Frankfurter Rundschau, 16.9.1963.
Gill, Brendan: Rez. In: The New Yorker, 15.6.1963.
Horemans, Jos: Some like it Wilder! In: Film en Televisie + Video, 357, Febr. S. 39.
J.Q. (=Jacques Quincey): Rez. In: Positif, 58, Febr.
1964.
J-t (=Werner Jungeblodt): Rez. In: Filmdienst, 39,
1963.
Larrocha, Eduardo: Rez. In: Nickel Odeon: revista
Jan. 2002, S. 60.
Mardore, Michel: Rez. In: Cahiers du Cinéma, 149,
Nov. 1963.
Matthies, Theo: Rez. In: Jack Lemmon. Hommage.
Red.: Rolf Aurich. Berlin: Henschel 1996, S. 56-57
1996.).
M.K. (=Michael Klein): Rez. In: Evamgelischer
ms. (=Martin Schlappner): Rez. In: Neue Zürcher
Zeitung, 2.10.1963.
Philippe, Pierre: Rez. In: Cinéma (Paris), 81, Dez.
1963.
Pizzuto, Angelo: Dolce, dolcissima, come favola antica. In: Filmcronache, 67/68, May/Aug. 1998, S.
51-53.
Ramsegger, Georg: Rez. In: Die Welt, 28.6.1963.
Roos, Hans-Dieter: Rez. In: Süddeutsche Zeitung,
13.9.1963.
Seuren, Günter: Rez. In: Deutsche Zeitung (Köln),
14.9.1963.
Sussex, Elizabeth: Rez. In: Sight and Sound 33,2,
April 1964, S. 98.
T.K. (=Terence Kelly): Rez. In: Monthly Film Bulletin 31,361, Febr. 1964, S. 20.
V.B. (=Voker Baer): Rez. In: Tagesspiegel,
3.10.1963.
Wharton, Flavia: Rez. In: Films in Review 14,7,
Aug.-Sept. 1963.
Williams, John: Film music review. In: Music from
the Movies, 21, Oct. 1998, S. 19.
Review of soundtrack release of IRMA LA DOUCE
and ELMER GANTRY.
Rezensionen II:
La Fiera del Cinema 5,4, April 1963, S. 27.
Drehbericht.
Variety, 5.6.1963.
The Film Daily 122,107, 5.6.1963, S. 5.
Time, 21.6.1963.
Motion Picture Herald 230,2 , 26.6.1963, S. 841.
Film Ideal, 127, Sept. 1963, S. 536.
Filmcritica: Mensile di studi cinematografici 14,138,
Okt. 1963, S. 644.
Die Presse (Wien), 22.12.1963.
Positif, 58, Febr. 1964, S. 60.
Cinema Novo, 32, Nov. 1983, S. 27-28.
The Listener 114,2924, 29.8.1985, S. 28-29.
Empire, 102, Dec. 1997, S. 19.
On the similarity between the poster tag line for Oliver
Stone's new movie U-TURN and the tag lines used to
publicise Billy Wilder's IRMA LA DOUCE and also
Jean-Luc Godard's SYMPATHY FOR THE DEVIL.
Kiss Me, Stupid
Küss mich, Dummkopf
USA 1964
Zur Kontroverse mit der Legion of Decency:
A Kick Instead For KISS ME, STUPID. In: Variety,
9.12.1964, S. 5.
Legion of Decency Condemns A Movie. In: New
York Times, 3.12.1964, S. 57.
Moral or immoral? In: Newsweek, 28.12.1964.
Corliss, Richard: Film and catholicism: The legend
of decency. In: Film Comment 4,4, Sommer 1968.
Feil, Ken: „Esthetically As Well as Morally Repulsive“: KISS ME, STUPID, "Bilious Billy," and the
Battle of Middlebrow Taste. In: McNally, Karen
(ed.): Billy Wilder, movie-maker. Critical essays on
the films. Jefferson, NC [...]: McFarland 2011, S.
132-144.
Thompson, Thomas: Wilder‘s dirty joke film stirs up
a furor. In: Life, 15.1.1965, S. 51, 53.
Tinnee, Mae: New Wilder Film Crude and Clumsy.
In: Chicago Daily Tribune, 21.12.1964, S. A2.
Vizzard, Jack: See no evil. Life inside a Hollywood
censor. New York: Simon & Schuster 1970, 380 S.
Analysen:
Barnett, Vincent L.: Dualling for Judy: the concept
of the double in the films of Kim Novak. In: Film
History 19,1, April 2007, S. 86-101.
Examines Jung's theories on 'character doubling' and
disjointed personalities, by using the example of t he
on and off-screen career of actress Kim Novak.
Lippe, Richard: KISS ME, STUPID - a comedy dilemma. In: Velvet Light Trap: A Critical Journal of
Film & Television, 3, Winter 1971/72, S. 33ff.
Wilder’s film was reviewed by the Catholic Church
Legion of Decency and received a Condemned rating,
being accused of producing a morally repulsive film.
The author concludes that KISS ME, STUPID deserves another chance with both the public and critics because Wilder’s main theme in the film is human dignity and the sanctity of marriage.
Magenham, Nicolas: KISS ME, STUPID: The End
of a Success Story? In: Literary readings of Billy
Wilder. Ed. by Georges-Claude Guilbert. Newcastle:
Cambridge Scholars Publ. 2007, S. 155-162.
Rezensionen I:
Ciment, Michel: Rez. In: Positif, 69, Mai 1965.
Comerford, Adelaide: Rez. In: Films in Review 16,2,
Febr. 1965, S. 118.
C.S.: Rez. In: Tagesspiegel, 26.2.1965.
Didion, Joan: Rez. In: Vogue 145,5, 1.3.1965, S. 97.
Durgnat, Raymond: Rez. In: Films and Filming 11,7,
April 1965, S. 27.
Fenwick, J.H.: Rez. In: Sight and Sound 34,2, April
1965, S. 95.
Gill, Brendan: Rev. In: New Yorker 40,45,
26.12.1964, S. 74.
Guegan, Gérard: Rez. In: Cahiers du Cinéma, 165,
April 1965, S. 70.
hdr (=Hans-Dieter Roos): Rez. In: Süddeutsche Zeitung, 31.12.1964.
Hodgens, R.M.: Rez. In: Film Quarterly 18,3,
Spring 1965.
HRB (=Heiko R. Blum): Rez. In: Frankfurter Rundschau, 20.5.1977.
M.M. (=Marcel Martini): Rez. In: Cinéma (Paris),
95, April 1965.
MacDonald, Dwight: Rez. In: Esquire, June 1965.
Repr. in MacDonalds: On movies. Englewood Cliffs,
NJ: Prentice-Hall 1969. Repr. 1981.
MacNab, Geoffrey: : Rez. In: Sight and Sound 14,8,
Aug. 2004, S. 75.
Molinari, Mario: Rez. In: Segnocinema 18,94, NovDez. 1998, S. 72-73.
Monder, Eric: Auds take walk on Wilder side with
KISS. In: Variety 387,5, 17.6.2002, S. 6.
Munz, Michel / Bitton, Gérard: Rez. In: Télérama,
2825, 6.3.2004, S. 33.
Ponzi, Maurizio: Rez. In: Filmcritica: Mensile di
studi cinematografici 16,154, Febr. 1965, S. 129131.
Santos Fontenla, César: Rez. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 163165.
Sarris, Andrew: In: Movie (London), 12, Spring
1965.
sb (=Martin Schaub): Rez. In: Neue Zürcher Zeitung, 3.1.1965.
Sussex, Alan: Rez. In: Monthly Film Bulletin 32,374,
March 1965, S. 34.
Tunney, Tom / MacNab, Geoffrey: Rez. In: Sight
and Sound 7,10, Oct. 1997, S. 67.
Vogel, Wolfgang: Rez. In: Frankfurter Rundschau,
30.12.1964.
Walsh, Moira: Rev. In: Variety Movie Reviews, 1,
1.1.1964, S. 46.
23.12.1964, S. 22.
Zambetti, Sandro: Rez. In: Cineforum: Quaderno
5,42, Febr. 1965, S. 157-159.
Rezensionen II:
The Film Daily 125,115, 17.12.1964, S. 3.
Newsweek, 28.12.1965, S. 54.
Kine Weekly, 2987, 31.12.1964, S. 5.
Time, 1.1.1965, S. 69 (Hipster’s Harlot).
On Gershwin music used.
Kine Weekly, 2995, 25.2.1965, S. 10.
The Velvet Light Trap, 3, Dec. 1971, S. 33.
The Listener 117,2992, Jan. 1987, S. 25-26.
Sight and Sound 14,9, Sept. 2004, S. 100.
The Fortune Cookie
Der Glückspilz
USA 1966
Drehbuch:
Rezensionen I:
For Billy Wilder, the words are foremost. In: Motion
Picture Herald, 20.7.1966.
Aldarondo, Ricardo: Perdiendo el juicio: la comedia
frente a la ley. In: Nosferatu: Revista de Cine, 32,
Jan. 2000, S. 21-25.
Alion, Yves: Rez. In: Revue du Cinéma, 453, Oct.
1989, S. 29.
Alpert, Hollis: Rez. In: Saturday Review, 24.9.1966.
Anchisi, Piero: Rez. In: Cinema & Film 1,2, Frühjahr 1967, S. 237-238.
A.P. (=Alfred Paffenholz): Rez. In: Filmdienst, 52,
1966.
Austen, David: Rez. In: Films and Filming 13,11,
Aug. 1967.
Braucourt, Guy: Rez. In: Cinéma (Paris), 120, Nov.
1967.
Canby, Vincent: The New York Times, 20.10.1966.
Castellani, Leandro: Rez. In: Rivista del cinematografo 40,1, Jan. 1967, S. 40-41.
Ciment, Michael: Rez. In: Positif, 87, Sept. 1967.
Clemente, Marcello: Rez. In: Film mese: Mensile di
critica cinematografica 1,1, 1967, S. 6.
Daney, Serge: Rez. In: Cahiers du Cinéma, 195,
Nov. 1967, S. 68.
Douglas, Andrew J.: Rev. In: Variety Movie Reviews,
1, 1.1.1966, S. 34.
Farber, Steven: Rez. In: Film Quarterly 20,3, Spring
1967, S. 61.
Gill, Brendan: Rez. In: The New Yorker, 29.10.1966.
Ilardi, A.: Rez. In: Filmcritica 18,176, April 1967, S.
189-190.
Invernici, Arturo: Non per soldi... ma per denaro. In:
Cineforum 40, Nov. (=399) 2000, S. 90-91.
J.M.: Rez. In: Newsweek, 31.10.1966.
Lemon, R.: Message in Billy Wilder's FORTUNE
COOKIE: well, nobody's perfect. In: The Saturday
Evening Post 239, 17.12.1966, S. 30-34+.
18.8.1986, S. 12.
Quaglietti, Lorenzo: Rez. In: Cinema 60: Mensile di
cultura cinematografica 8,61, 1967, S. 62-63.
Regel, Helmut: Rez. In: Filmkritik, Febr. 1967.
Rothschild, Elaine: Rez. In: Films in Review 17,9,
Nov. 1966.
Schickel, Richard: Rez. In: Life, 18.11.1966.
Repr. in Schickels: Second sight. Notes on some movies 1965-1970. New York: Simon and Schuster 1972,
351 S.
Schmerber, Helmut: Rez. In: Frankfurter Allgemeine Zeitung, 16.1.1967.
Schmidt, Eckhart: Rez. In: Süddeutsche Zeitung,
19.12.1966.
Schmidt, Eckhart: Rez. In: Film (Velber), Febr.
1967.
Schmitz, Helmut: Rez. In: Frankfurter Rundschau,
16.1.1967.
Taylor, John Russell: Rez. In: Sight and Sound 36,3,
July 1967, S. 147.
T.M. (= Tom Milne): Rez. In: Monthly Film Bulletin
34,402, July 1967, S. 103.
Torres-Dulce Lifante, Eduardo: Rez. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998,
S. 166-171.
V.B. (= Volker Baer): Rez. In: Tagesspiegel,
8.1.1967.
Zambetti, Sandro: Rez. In: Cineforum: Quaderno
7,65, 1967, S. 411-419.
Rezensionen II:
Variety, 19.10.1966, S. 6.
Time, 28.10.1966.
Bianco e Nero 28,3/4, March 1967, S. 114.
Kine Weekly, 3109, 13.5.1967, S. 11.
Radio Times 241,3135, 10.12.1983, S. 17.
The Listener 116,2991, 18.12.1986, n.p.
The Private Life of Sherlock Holmes
Das Privatleben des Sherlock Holmes
USA 1970
Filmroman:
Hardwick, Mollie / Hardwick, Michael: The private
life of Sherlock Holmes. From the screenplay by Billy Wilder and I. A. L. Diamond. Based on the characters created by Sir Arthur Conan Doyle. London:
Mayflower Books 1970, 174 S. (Mayflower Paperback.).
Dt.: Das Privatleben des Sherlock Holmes. Kriminalroman. Hrsg. von Hans Gamber. Dt. von Klaus E.R.
von Schwarze. München: König 1973, 133 S.
(König[-Taschenbücher]. K 40.).
Zur Sherlock-Holmes-Figur:
Barnes, Alan: Sherlock Holmes on screen. The complete film and tv history. London: Reynolds & Hearn
2002, 240 S.
Aktualis. Neuausg. London : Reynolds & Hearn,
2006, 287 S. -- Mehrere Neudr.
Davies, David Stuart: Holmes of the movies. The
screen career of Sherlock Holmes. Forew. by Peter
Cushing. London: New English Library 1976, 175 S.
Zugl. New York: Bramhall House 1976; repr.: 1978.
Duncan, Alistair: Eliminate the impossible. An examination of the world of Sherlock Holmes on page
and screen. Stanstead Abbotts: MX Pub. 2008, iv,
244 S.
Haralovich, Mary Beth: Sherlock Holmes: genre and
industrial practice. In: Journal of Film and Video
31,2, 1979, S. 53-57.
Haydock, Ron: Deerstalker! Holmes and Watson on
screen. Metuchen, N.J.: Scarecrow Press 1978, x,
313 S.
Pohle, Robert W. / Hart, Douglas C.: Sherlock Holmes on the screen. The motion picture adventures of
the world's most popular detective. Cranbury, N.J.:
Barnes 1977, 260 S.
Steinbrunner, Chris / Michaels, Norman: The films
of Sherlock Holmes. Secaucus/N.J.: Citadel Press
1978, 253 S.
Neudr. 1991.
Interviews:
Cohn, Bernard: Wilder, Billy - Tournage. In: Positif,
109, Okt. 1969.
Mann, Roderick: Movie maker Billy Wilder is ready
for Sherlock Holmes. In: Los Angeles Herald Examiner, 10.3.1968.
Shivas, Mark: Wilder - „Yes, we have no naked
girls“. In: New York Times, 12.10.1969.
Starkmann, Alfred: „Sherlock Holmes ist mein Hamlet“. In: Die Welt, 26.7.1969.
Swishr, Viola Hegyi: And now, says Toumanova,
Billy Wilder. In: After Dark, 11,11, March 1970.
Interview with Tamara Toumanova.
Analysen:
mensile di Studi sul Cinema 33, Nov./Dec.
(=329/330) 1982, S. 594-602.
La Polla, Franco: La maschera come opposizione e
come integrazione in Billy Wilder. In: Filmcritica,
234-235, Mai-Juni 1973.
La Polla, Franco: Le masque dissimulateur d’identité
dans LA VIE PRIVÉE DE SHERLOCK HOLMES
et AVANTI! de Billy Wilder. In: Cinémaction, 118,
Jan. 2006, S. 168-173.
On the use of masks in both films.
Saudo, Nathalie: A Beautiful Baby: The 'Extra-Extraordinary' Case of Billy Wilder's SHERLOCK
HOLMES. In: Guilbert, Georges-Claude (ed.): Literary Readings of Billy Wilder. Newcastle upon
Tyne: Cambridge Scholars 2007, S. 173-189.
Starfield, Penn S. (dirigé par): Masque et lumière.
Condé-sur-Noireau: Corlet 2006, 253 S. (CinémAction. 118.).
Rezensionen I:
2000, S. 178-190.
Abati, Mario: Rez. In: Cineforum: Quaderno mensile della Federazione italiana dei cineforum 11,103,
Mai 1971, S. 93-95.
Argentieri, Mino: Un eroe vittoriano. In: Cinema
60: Mensile di cultura cinematografica 9,85-86,
Sept.-Dez. 1971, S. 66-67.
Astruc, Alexandre: Rez. In: Paris Match, 2.1.1971.
Baroncelli, Jean de: Rez. In: Le Monde, 27.12.1970.
Bedoya, Ricardo: El ultimo secreto de Sherlock Holmes. In: Hablemos de Cine, 68, 1976, S. 44-47.
Billington, Michael: Meet Billy Wilder. In: Times,
19.7.1969.
Blumenberg, Hans C.: Rez. In: Die Zeit, 18.6.1971.
Braucourt, Guy: Rez. In: Cinéma (Paris), 152, Jan
1971.
Breschand, Jean: Le reve suspendu. In: Vertigo: Revue d‘Esthétique et d‘Histoire du Cinéma, 11/12,
1994, S. 118.
Canby, Vincent: Rez. In: The New York Times,
30.10.1970.
Coe, Jonathan: Journal d'une obsession. In: Cahiers
du Cinéma, 533, Mars 1999, S. 60-63.
Combs, Richard: Rez. In: Monthly Film Bulletin
38,444, Jan. 1971, S. 11.
Denby, David: His Private "I". In: New Yorker 85,12,
4.5.2009, S. 14.
ejW. (=Edgar J. Wettstein): Rez. In: Filmdienst, 13,
1971.
Gene: Rez. In: Variety 260,11, 28.10.1970, S. 17.
Gillett, John: In search of Sherlock. In: Sight and
Sound 39,1, Dec. 1969, S. 26-27.
Graf, Dominik: Eine Frage der Selbstbeherrschung:
THE PRIVATE LIFE OF SHERLOCK HOLMES
von Billy Wilder, 1970. In Grafs: Graf, Schläft ein
Lied in allen Dingen: Texte zum Film. Hrsg. von Michael Althen. Berlin: Alexander Verlag 2009, S. 82
ff.
Graydon, Danny: Rez. In: Empire, 216, June 2007,
S. 159.
H.S. (=Helmut Schmitz): Rez. In: Frankfurter Rundschau, 21.6.1971.
Kael, Pauline: Rez. In: The New Yorker, 14.11.1970.
Auch in ihrem: Deeper into movies. Boston: Little,
Brown 1973.
S. 28.
S. 30.
Kane, Pascal: Rez. In: Cahiers du Cinéma, 228,
March 1971, S. 62-63.
Keneas, Alex: Rez. In: Newsweek, 2.11.1970.
Lloyd, Peter: Rez. In: Monogram, 1 April 1971.
M.A.: Rez. In: Rivista del cinematografo 44,2, Febr.
1971, S. 95-96.
Malcolm, Derek: Rez. In: Guardian Weekly,
12.12.1970.
McBride, Joseph / Wilmington, Michael: Rez. In:
Film Quarterly 24,3, Spring 1971, S. 45-48.
Aug. 2004, S. 77.
Mayne, Richard: Second innings. In: Times Literary
Supplement, 12.12.1975, S. 1486
Newman, Kim: Rez. In: Empire, 163, Jan. 2003, S.
62.
Pointer, Michael: The Sherlock Holmes file. Newton
Abbot [...]: David and Charles 1976, 168 S.
Reisfeld, Bert: Die Renaissance des Sherlock Holmes. In: Stuttgarter Zeitung, 8.1.1970.
Schmitt, Sigrid: Rez. In: Süddeutsche Zeitung,
21.6.1976.
Schwarze, Michael: Rez. In: Frankfurter Allgemeine
Zeitung, 23.6.1971.
Séguin, Louis: Rez. In: Positif, 127, Mai 1971.
Sklar, Robert: Rev. In: Variety Movie Reviews, 1,1
1.1.1970, S. 89.
Starkmann, Alfred: Rez. In: Die Welt, 17.2.1971.
Tarratt, Margaret: Rez. In: Films and Filming 17,4,
Jan. 1971, S. 47.
Taylor, John Russell: Rez. In: The Times, 4.12.1970.
Tébar, Juano: Rez. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 146-149. 172174 p.
Valley, Richard: Sherlock Holmes and the dreadful
business of the naked honeymooners. In: Scarlet
Street, 15, Summer 1994, S. 49-51.
Wood, Tom: Billy Wilder clues in on Holmes. In:
Rezensionen II:
Kine Weekly, 3213, 10.5.1969, S. 16.
Telegraf (Berlin), 6.7.1979.
Today's Cinema, 9720, 8.9.1969, S. 6.
Today's Cinema, 9862, 4.12.1970, S. 10.
Kine Weekly, 3295, 5.12.1970, S. 10.
Les Lettres françaises, 30.12.1970.
Sight and Sound 40,1, Dec. 1970, S. 47-48.
Photoplay 22,1, Jan. 1971, S. 42-43, 57.
Monogram 1, 1971, S. 24-25.
Cinema 6,3, April 1971, S. 49.
Films in Review 22,4, April 1971, S. 243-244.
Mention of historical errors.
Positif 127, May 1971, S. 29-31.
Spielfilm im ZDF, 1, 1976.
The Listener 112,2889, 20.12.1984, S. 69.
Films and Filming, 390, March 1987, S. 9.
Details of the material cut from the film.
Films and Filming, 392, May 1987, S. 9.
Scenes cut from the film.
The Listener 120,3077, 25.8.1988, S. 34.
Avanti!
Avanti, Avanti
USA/Italien 1972
Interviews:
Ciment, Michel: Entretien avec Billy Wilder. In: Positif, 155, Jan. 1974.
Touhy, William: Wilder in Italy. Order among the
extroverts. In: Los Angeles Times, 30.4.1972.
Voss, Helmut: Gespräch mit Wilder. In: Berliner
Morgenpost, 9.2.1973.
Positif, 155, Jan. 1974, S. 3-14.
Interview + Review von Olivier Eyquem.
Analysen:
Bolter, Trudy: Going backwards with Billy Wilder:
AVANTI!, a ghost play. In: Literary readings of Billy Wilder. Ed. by Georges-Claude Guilbert. Newcastle: Cambridge Scholars Publ. 2007, S. 5-24.
Nov./Dec. (=329/330) 1982, S. 525-528.
La Polla, Franco: La maschera come opposizione e
come integrazione in Billy Wilder. In: Filmcritica,
234-235, Mai-Juni 1973.
La Polla, Franco: Le masque dissimulateur d’identité
dans LA VIE PRIVÉE DE SHERLOCK HOLMES
et AVANTI! de Billy Wilder. In: Cinémaction, 118,
Jan. 2006, S. 168-173.
On the use of masks in both films.
Masson, Alain: A sequence from AVANTI! In: Continuum 5,2, 1992, S. 167-178.
McBride, Joseph: The Importance of Being Ernst.
In: Film Heritage (New York), 8,4, Summer 1973, S.
1-9.
Starfield, Penny (dirigé par): Masque et lumière.
Condé-sur-Noireau: Corlet 2006, 253 S. (CinémAction. 118.).
Rezensionen I:
Anon.: Verkehrt gepolt. In: Der Spiegel. Nr. 10,
1981 (online).
Baer, Volker: Rez. In: Tagesspiegel, 23.12.1973.
Banz, Helmut W.: Rez. In: Kölnische Rundschau,
22.12.1973.
Baroncelli, Jean de: Rez. In: Le Monde, 3.10.1973.
Bastian, Günter: Rez. In: Filmdienst, 1, 1974.
Blumenberg, Hans C.: Rez. In: Kölner Stadt-Anzeiger, 22.12.1973.
Bourget, Jean-Loup: Rez. In: Positif, 149, April
1973.
Buchka, Peter: Rez. In: Süddeutsche Zeitung,
18.2.1974.
Ciment, Michel: [Bericht über die Dreharbeiten.] In:
Paris Match, 1.7.1972.
Combs, Richard: Rez. In: Monthly Film Bulletin
40,473, June 1973, S. 119.
Fälbel, Florian: Rez. In: Frankfurter Rundschau,
20.12.1973.
Fairbanks, Harold: AVANTI not Wilder's best. In:
Advocate, 102, 3.1.1973, S. 28.
Farbe, Stephen: Rez. In: Film Quarterly 26,4, Summer 1973.
F.L. (=Friedrich Luft): Rez. In: Die Welt,
24.12.1973.
Freixas, Ramón: Rez. In: Nickel Odeon: revista trimestral de cine, 10, Primavera 1998, S. 175-177.
G.B. (=Guy Braucourt): Rez. In: Ecran, 19, Nov.
1973.
Ghezzi, Enrico: Rez. In: Rivista del cinematografo
46,7, 1973, S. 380-381.
Gillett, John: Rez. In: Focus on Film, 15, July 1973,
S. 14-15.
Haffner, Hellmut: Rez. In: Deutsches Allgemeines
Sonntagsblatt, 10.3.1974.
Jacquot, Benoit : Rez. In: Télérama, 2825, 6.3.2004,
S. 35.
[JB]: Rez. In: Empire, 140, Febr. 2001, S. 120.
J.C. (=Jay Cooks): Rez. In: Time, 25.12.1972.
Kane, Pascal: Rez: In: Cahiers du Cinéma, 248,
Sept. 1973, S. 45-48.
Kauffmann, Stanley: Rev. In: New Republic 168,8,,
24.2.1973, S. 22.
Kromer, Ruth: [Drehberict.] In: Bremer Nachrichten,
16.9.1972.
Lefèvre, Raymond: Rez. In: Image et Son, 279, Déc.
1973.
McCourt, James: Nobody dances the plka anymore:
Billy Wilder. In: Framework, 5, Winter 1976-77, S.
176-180.
MacNab, Geoffrey : Rez. In: Sight and Sound 14,8,
Aug. 2004, S. 74.
Masson, Alain : Rez. In: Positif, 329/330, July 1988,
S. 111-117.
Mathews, Meg: Rez. In: Films in Review 24,2, Febr.
1973.
Mirisch, Walter: I thought we were making movies,
not history. Madison, Wisc.: University of Wisconsin
Press 2008.
Darin: Billy Wilder and THE PRIVATE LIFE OF
SHERLOCK HOLMES and AVANTI!
Mundy, Robert: [Produktionsbericht.] In: Cinema
Rising, 3, Aug. 1972, S. 16-17.
Murat, S.: Rez. In: Téléciné, 216, Mars 1977, S. 34.
Rayns, Tony: Rez. In: Sight and Sound 42,3, July
1973, S. 175-176.
Sinyard, Neil / Turner, Adrian: Billy Wilders Filme.
Berlin: Spiess 1980, S. 109–111.
Verhnes, Monique: Rez. In: Cinéma (Paris), 181,
Nov. 1973.
18.12.1972.
W.W. (=Wilfried Wiegand): Rez. In: Frankfurter
Allgemeine Zeitung, 22.12.1973.
Zaugg, Fred: Rez. In: Zoom-Filmberater 26,2, 1974.
Rezensionen II:
Filmfacts 15,24, 15.12.1972, S. 661-663.
Variety, 27.12.1972, S. 6.
Cinema TV Today, 10035, 9.6.1973, S. 18.
Film Heritage 8,4, July 1973, S. 1-9.
Monthly Film Bulletin 40,475, Aug. 1973, S. 180.
Framework, 5, Dec. 1976, S. 18-21.
On the theme of redemption by ordeal.
The Front Page
Extrablatt
USA 1974
Hecht, Ben / MacArthur, Charles: The Front Page.
Introd. by Jed Harris. New York: Covici-Friede
1928, 189 S.
Mehrfach nachgedr. (6th ed. 1933).
Auch in: In: Sixteen famous American plays. Ed. by
Bennett A. Cerf and Van H. Cartmell. With an introd.
by Brooks Atkinson. New York, NY: Garden City
1941, S. 59-146.
Auch in: 50 Best Plays of the American Theatre. 1. Ed.
by Clive Barnes. New York: Crown 1969.
Auch in: 25 Best Plays of the Modern American Theatre. Early Series, 1916-1929. New York: Crown 1949,
S. 443-494.
Auch in: George W. Hilton: The Front Page: From
Theater to reality. Hanover, NH: Smith & Kraus 2002.
Dt. Bühnenadaption: Reporter / The front page. Ein
Stück in drei Akten. Berlin: Bloch Erben [1970], 161
S.
Interviews:
Champlin, Charles: Wilder still working with net. In:
Gespräch mit Wilder und Diamond.
Sight and Sound 43,4, Oct. 1974, S. 212.
The director talks about the making of his film.
Deck, Bernd: Billy Wilder drehte einen Film aus
dem Zeitungsmilieu. In: Berliner Morgenpost,
10.1.1975.
Analysen:
Giacci, Vittorio: Billy Wilder: La classicità nella
trasgressione. In: Cineforum, 145, Juni-Juli 1975.
O'Leary, Brian: Local Government Regulation of the
Movies: The Dallas System. In: Journal of Film and
Video 48,3, Oct. 1996, S. 46-59.
Article about early rating systems for films in the
USA, particularly the system by the Dallas Motion
Picture Classification Board, about films in conflict
with these institutions and censorship in the USA since then.
Rezensionen I:
A.F.S. (=Arnd F. Schirmer): Rez. In: Tagesspiegel,
30.3.1975.
Alexander, Michael: Rez. In: Frankfurter Rundschau, 29.3.1975.
BHR: Rez. In: Katholischer Filmdienst, 7, April
1975.
Brown, Geoff: Rev. In: Monthly Film Bulletin
42,493, Febr. 1975, S. 32-33.
Buccheri, Vincenzo: Rez. In: Segnocinema 20,105,
Sept.-Okt. 2000, S. 61.
Buckley, Michael: Rez. In: Films in Review 25,10,
Dec. 1974.
Canby, Vincent: Rez. In: The New York Times,
19.12.1974.
Cardenas, Federico De: Rev. In: Hablemos de Cine,
68, 1976, S. 47-48.
Cieutat, Michel: "Speciale premiere": les trois versions de THE FRONT PAGE ou le cinéma-roi. In: Positif, 271, Sépt 1983, S. 42-46.
Colpart, Gilles: "Speciale premiere." In: Revue du
Cinéma, 435, Févr. 1988, S. 48.
Cooks, Jay: Rez. In: Time, 23.12.1974.
Doneux, M.: "Speciale premiere." In: Revue Belge
du Cinéma (A.P.E.C.) 13,1-2, 1975, S. 98-99.
Duarte, F.: Primeira pagina. In: Celuloide 28, March
(=346), 1983, S. 65-66.
Duval, Bruno: Rez. In: Téléciné, 199, Mai 1975.
Gónzalez-Campos, Arturo: Rez. In: Nickel Odeon:
178-179.
Gow, Gordon: Rez. In: Films and Filming 21,6,
März 1975.
Greenfield, Pierre: Rev. In: Movietone News, 54,
June 1977, S. 40-41.
Hulse, E.: Rev. In: Video Librarian 20,5, Sept./Oc.
t2005, S. 40.
Jansen, Peter W.: Rez. In: Kirche und Film 28,6, Juni
1975.
Jeavons, Clyde: Rez. In: Sight and Sound 44,2, Autumn 1975.
Kael, Pauline: Rez. In: The New Yorker, 27.1.1975.
Repr. in Kaels Reeling. New York [...]: Little, Brown
1976.
Karasek, Hellmuth: Rez. In: Der Spiegel, 14,
31.3.1975.
Laviana, Juan Carlos: Rez. In: Nickel Odeon: Revista trimestral de cine, 10, Primavera 1998, S. 64-65.
Lenne, Gérard: Rez. In: Ecran, 35, April 1975.
Limmer, Wolfgang: Rez. In: Süddeutsche Zeitung,
27.-28.3.1975.
Lotz, Sebastian: Rhein-Neckar-Zeitung (Heidelberg),
16.7.1974.
Bericht über die Dreharbeiten.
Luft, Friedrich: Rez. In: Die Welt, 1.4.1975.
Madsen, Axel: Billys neuer Anfang. In: Frankfurter
Rundschau, 3.11.73.
McBride, Joseph: THE FRONT PAGE. In: Sight
and Sound 43,4, Herbst 1974.
Bericht über die Dreharbeiten.
Meyer, Andreas: Rez. In: Medium, Mai 1975.
ms (=Martin Schlappner): Rez. In: Neue Zürcher
Zeitung, 8.4.1975.
Nacache, J.: FRONT PAGE: la presse comme lieu
de combat. In: Cinéma 88,429, 17.-23.2.1988, S. 14.
Norman, Barry: Barry Norman On: THE FRONT
PAGE. In: Radio Times 270,3531, 24.8.1991, S. 26.
Article comparing the films THE FRONT PAGE, HIS
GIRL FRIDAY, and SWITCHING CHANNELS,
which were all based around the same story, and the
different treatments of it and the characters.
P.D.Z. (=Paul D. Zimmermann): Rez. In: Newsweek,
23.12.1974.
Prisi, Elsbeth: Rez. In: Zoom-Filmberater, 27,7,,
April 1975.
Quaglietti, Lorenzo: Le sommesse intenzioni dell'ultima versione di un vecchio soggetto rimesso a nuovo. In: Cinema 60: Mensile di cultura cinematografica 15,102, Marzo-Aprile 1975, S. 51-52.
Rabourdin, Dominique: Rez. In: Cinéma (Paris),
198, Mai 1975.
Sainz Moreno, Javier;: El por qué de PRIMERA
PLANA de Billy Wilder. [S.l.: s.n., s.a], 17 S. (La
dialéctica en el arte. 22.)/( Pliegos libres.).
Schwarze, Michael: Rez. In: Frankfurter Allgemeine
Zeitung, 3.4.1975.
Sklar, Robert : Rev. In: Variety Movie Reviews, 1,
1.1.1974, S. 41.
Ulrich, Franz: Rez. In: Jugend Film Fernsehen, 4,
Dez. 1975.
Wiest, Rolf: Rez. In: Kölner Stadt-Anzeiger,
10.5.1975.
Rezensionen II:
Cinema TV Today, 10115, 4.1.1975, S. 17.
Ecran, 35, April 1975, S. 22-40.
Article discussing the 'Wilder touch', review of the
FRONT PAGE and article by Jacques Chevalier on
working with Wilder.
Film and History 15,4, Dec. 1985, S. 87-90.
Comparison of the image of the reporter, in this film
and the other two versions, the FRONT PAGE (1931)
and HIS GIRL FRIDAY (1939).
Films Illustrated 4,42, Febr. 1975, S. 216-218.
Films and Filming 21,6, March 1975, S. 37.
International Photographer 46,7, July 1974, S. 1213, 18.
Movietone News, 54, 20.6.1977, S. 40-41.
Positif, 271, Sept. 1983, S. 42-46.
Comparison with other versions.
Sight and Sound 44,2, April 1975, S. 124.
The Hollywood Reporter.234,13, 9.12.1974, S. 3, 8.
The Hollywood Reporter.231,4, 19.4.1974, S. 22.
Variety, 11.12.1974, S. 18.
Fedora
Fedora
Frankreich/BRD 1978
Tryon, Thomas: Fedora. In seinem: Crowned Heads.
2nd ed. n.l.: Fawcett 1981.
Zuerst: New York: Knopf 1976 / London: Coronet
1977. Mehrere Neuauflagen.
Dt.: Fedora oder die Vergessenen. Ein Roman in vier
Episoden. Deutsch von Hermann Stiehl. Reinbek: Rowohlt 1982, 404 S.
Drehbuch:
Wilder, Billy: FEDORA. [Drehbuch.] Paris: L‘Avant-Scène Cinéma 1978, 58 S. (L'avant-scène cinéma. 216.).
In der normalen Heftfolge: FEDORA; découpage
après montage définitif et dialogue in extenso (script).
In: L'Avant-Scène Cinéma, 216, 1978, S. 7-24, 37-54.
Interviews:
Ciment, Michel: Entretien avec Billy Wilder (sur
FEDORA). In: Positif, 210, Sept. 1978, S. 28-35.
Holetz, Lotte: [Interview mit Wilder.] In: Abendzeitung (München), 20.5.1977.
McCarthy, T. / McBride, Joseph: Going for extra innings. [Interview with Billy Wilder.]. In: Film Comment 15, Jan./Febr. 1979, S. 40-48.
Analysen:
mensile di Studi sul Cinema 33, Novv./Diz.
(=329/330), 1982, S. 594-602.
Kehr, Dave: When movies mattered: reviews from a
transformative decade. Chicago: University of Chicago Press 2011, 290 p.
Darin: Fedora. Directed by Billy Wilder (June 22,
1979) (S. 55-57).
Rezensionen I:
Allied Artists out of FEDORA; Wilder pic back with
Lorimar. In: Variety 294, 28.2.1979, S. 18.
An endowed Boswell follows Billy Wilder while filming FEDORA. In: Variety 287, 25.5.1977, S. 35.
Ansen, D.: SUNSET BOULEVARD revisited. In:
Newsweek 93, 23.4.1979, S. 69.
Banz, Helmut W.: Rez. In: Kölner Stadtanzeiger,
2.7.1978.
Bayer, Eva-Suzanne: Der Mann mit der Peitsche.
Billy Wilder gibt eine Vorstellung. In: Stuttgarter
Zeitung, 22.7.1977.
Bericht über eine Pressekonferenz.
Bedoya, R.: Rez. In: Hablemos de Cine, 76, Febr.
1983, S. 75-77.
Bellido, Adolfo: EL CREPÚSCULO DE LOS DIOSES y FEDORA. In: Nickel Odeo: revista trimestral
Beylie, Claude: Du livre au film. In: L'Avant-Scène
Cinéma, 216, 15.11.1978, S. 6.
Billy Wilder doffs FEDORA to Bavaria studios in
Munich. In: Variety 288, 10.8.1977, S. 20.
Blow-by-blow FEDORA dossier. In: Variety 288,
19.10.1977, S. 151.
Blumenberg, Hans C.: Rez. In: Die Zeit,7.7.1978.
Bolzoni, Francesco: Rez. In: RC/ Rivista del cinematografo e delle comunicazioni sociali 52,5, Maggio 1979, S. 234-236.
Brennan, R.: Rez. In: Cinema Papers, 23, Sept/Oct.
1979, S. 568-569.
Canby, Vincent: FEDORA is vintage Wilder. In: The
New York Times 128, 6.5.1979, sect. 2, S. 15+.
Castell, D.: Rez. In: Films Illustrated 8, Aug. 1979,
S. 467-468.
Coleman, J.: Films: old hat. In: New Statesman 98,
13.7.1979, S. 69-70.
Colpart, Gilles: Rez. In: Revue du Cinéma / Image et
Son, 331, Sept. 1978, S. 138-140.
Combs, Richard: Rez. In: Monthly Film Bulletin 46,
Aug. 1979, S. 172-173.
Cook, S.: The sound track. In: Films in Review 30,
June/July 1979, S. 358-61+.
Cosulich, Callisto: Rez. In: Cinema 60 19,128-129,
1979, S. 83.
Dahan, L.: Rez. In: Cinématographe, 40, 1978, S.
76-77.
De Fornari, O.: Rez. In: Bianco e Nero 40,
Sept./Dec. (1979, S. 174-176.
Denby, D.: House of flowers. In: New York Magazine 12, 21.5.1979, S. 62-63.
DeVos, J.-M. de : Rez. In: Film en Televisie + Video,
258, Nov. 1978, S. 16.
Duarte, F.J.: As estrelas nao sao eternas. In: Celuloide 24,270, Jan. 1979, S. 11.
Dubroux, Danièle : Rez. In: Cahiers du Cinéma,
294, Nov. 1978, S. 54-55.
Elley, D : Rez. In: Films and Filming 25, Sept. 1979,
S. 31-32.
Enrico, Ghezzi: Due luoghi di cinema (Cannes e Pesaro). In: Filmcritica: Rivista mensile di Studi sul
Cinema 29, April/May 1978, S. 178-185.
Everschor, Franz: Rez. In: Filmdienst, 14, 1978.
Everson, William K.: Rez. In: Films in Review 30,
June/July 1979, S. 377-378.
Fink, Guido: Wilder (e Calvino): già, perché le ginocchia? In: Cinema e Cinema 6,21, Okt.-Dez.
1979, S. 102-107.
Fougeres, Roland: Rez. In: Ciné-Télé-Revue 58,
9.2.1978, S. 14-17.
Gérard, Legrand: Deux ou trois comtesses (FEDORA). In: Positif, 210, Sept. 1978, S. 21-23.
Gilliatt, S.: The current cinema: outback Henry James. In: The New Yorker 55, 23.4.1979, S. 122-124.
Godin, N.: Rez. In: Amis du Film et de la Télévision,
269, Oct. 1978, S. 35.
Greenspun, Roger: Films: phantom ladies. In:
Penthouse 10, Aug. 1979, S. 46-47.
Holetz, Lotte: Machen Sie doch den Weg zur Gräfin
frei! In: Abendzeitung (München), 15.7.1977.
Drehbericht.
H.S. [=Helmut Schmitz]: Rez. In: Frankfurter Rundschau, 5.7.1978.
Ieperen, A. van: FEDORA: het Europese Hollywood
van Billy Wilder. In: Skoop 14, 1978, S. 26-35.
Kauffmann, Stanley: Stanley Kauffmann on films:
alive and otherwise. In: The New Republic 180,
5.5.1979, S. 24-25.
Kirst, Hans Hellmut: Rez. In: Die Welt, 30.3.1978.
Knapp, Gottfried: Rez. In: Süddeutsche Zeitung, 1.2.7.1978.
Koetsenruijter, Bart: Dertig jaar later. In: Skrien,
176, Febr./March 1991, S. 47.
Kornatowska, Maria: Nikt nie jest doskonaly. In:
Kino (Warszawa) 32, April 1998, S. 22-23.
Kriewitz, Günther: Rez. In: Stuttgarter Zeitung,
21.7.1978.
Legrand, Gérard / Ciment, Michel / Viviani, Christian: o.T. In: Positif, 210, Sépt. 1978.
Interview, Besprechung, Vergleich mit literarischer
Vorlage.
Leroux, A.: Rez. In: Séquences: la Revue de Cinéma, 97, Juli 1979, S. 41-42.
Limmer, Wolfgang: Rez. In: Der Spiegel, 28,
10.7.1978.
Lorimar's stake in FEDORA film. In: Variety 288,
2.11.1977, S. 21.
Maerker, Christa: Rez. In: Spandauer Volksblatt,
1.7.1978.
Maslin, Janet; Wilder's movie FEDORA opens. In:
The New York Times 128, 15.4.1979, S. 35.
Mcash, Iain F.: Will Wilder's FEDORA be another
SUNSET BOULEVARD? In: Films Illustrated 7,
Dec. 1977, S. 146-148.
Mcgee, Rex: The life and hard times of FEDORA.
In: American Film: a Journal of the Film and Television Arts 4, Febr, 1979, S. 17-21+.
Detaillierter Produktionsbericht.
Monty, I.: Gadefulde Fedora. In: Kosmorama
25,141, 1979, S. 47.
Moskowitz, G.: Rez. In: Variety 292, 23.8.1978, S.
30.
Munroe, D.: Rez. In: Filmbulletin 48, Jan. 1979, S.
R-E.
Neumann, Hartwig H.: Rez. In: Filmbeobachter, 14,
1978.
PHG: Rez. In: Die Welt, 30.3.1978.
Pironi, Gualtiero : Rez. In: Cineforum, 184, Mai
1979, S. 282-291.
Pitman, Jack: BBC-TV buys Wilder's FEDORA,
dickering for "Little Night Music." In: Variety 292,
27.9.1978, S. 39.
Portel-Dorget, M.-L.: Rez. In: Revue du Cinema,
Hors série 23, 1979, S. 125-126.
Predal, René: Rez. In: Jeune Cinéma, 113, Oct.
1978, S. 28-29.
Ratschewa, Maria: Rez. In: Deutsches Allgemeines
Sonntagsblatt, 16.7.1978.
Roud, Richard: Rez. In: Sight and Sound 47,3, Sommer 1978.
Roy, Jean: Rez. In: Cinéma 78 C78,235, Juli 1978,
S. 56-57.
Roy, Jean: Rez. In: Cinema 78 C78,238, Oct. 1978,
S. 80-83.
Salko, S.: Rez. In: Filmihullu, 7, 1980, S. 35-36.
Sarris, Andrew: Some like it not. In: The Village Voice 24, 16.4.1979, S. 41.
Schickel, Richard: Old hat: FEDORA. In: Time 113,
21.5.1979, S. 86.
Siclier, Jaques: Rez. In: Le Monde, 2.6.1978.
1.1.1978, S. 44.
Stam, R.: Rez. In: Cineaste 10,1, 1979, S. 55-56.
Tessier, Max: Rez. In: Ekran: Revija za Film in Televizijo, 72, 15.9.1978, S. 53-54.
Torok, Jean-Paul. FEDORA, fait d'aura. In: L'AvantScène Cinéma, 216, 15.11.1978, S. 5-6.
Turner, Adrian / Sinyard, Neil: Rez. In: Sight &
Sound 48,3, 1979, S. 160-165.
Turroni, G.: FEDORA: le stimmate e la rosa. In:
Filmcritica: Rivista mensile di Studi sul Cinema
30,294, Aprile 1979, S. 161-163.
V.B. [=Volker Baer]: Rez. In: Der Tagesspiegel,
29.6.1978.
Vrdlovec, Z : Rez. In: Ekran: Revija za Film in Televizijo 5,1, 1980, S. 31.
Wiegand, Wilfried: Rez. In: Frankfurter Allgemeine
Zeitung, 4.7.1978.
Wg (=Gerhard Waeger): Rez. In: Neue Zürcher Zeitung, 6.1.1979.
Rezensionen II:
Variety, 10.8.1977.
L'Avant-Scene Cinema, 216, Nov. 1978, S. 15.
L'Avant-Scene Cinema, 216, 15.11.1978, S. 2-4.
Screen International, 87, 14.5. 1977, S. 20.
Photoplay 28,11, Nov. 1977, S. 13, 59.
Films Illustrated 7,76, December 1977, S. 147-148.
film-dienst, 14, 1978.
Cinématographe, 40, July 1978, S. 76-77.
Variety, 23.8.1978, S. 30.
Positif, 210, Sept. 1978, S. 21-23, 24-27.
Comparison with original novel.
Image et Son, 331, Sept. 1978, S. 138-140.
Télérama, 1496, 13.9.1978, S. 76-77.
Cahiers du Cinéma, 294, Nov. 1978, S. 54-55.
L'Avant-Scène du Cinéma, 216, 15.11.1978, S. 3-6.
The Hollywood Reporter 254,14, 22.11.1978, S. 3,
19.
American Film 4,4, Febr. 1979, S. 17-20.
Dirigido Por..., 67, Febr. 1979, S. 20-23.
Sight and Sound 48,3, July 1979, S. 160-165.
The Listener 102,2620, 19.7.1979, S. 87-88.
Films and Filming 25,12, Sept. 1979, S. 31-32.
Films Illustrated 9,97, Sept. 1979, S. 36.
Cinéaste 10,1, Dec. 1979, S. 55-56.
Buddy Buddy
Buddy, Buddy
USA 1981
Malone, Helen Matthews: Evolving Relations between the Sexes: A Study of Four Hollywood Films,
1931-1988. Diss. Brigham Young University 1991.
Dazu: Dissertation Abstracts International 52,5, Nov.
1991, S. 1552A.
Hadley, Richard Parker, Jr.: Billy Wilder and Comedy: An Analysis of Comedic and Production Techniques in BUDDY BUDDY. Diss. 1991.
Dazu: Dissertation Abstracts International 50,5, Nov.
1989, S. 1116A.
Turner, Adrian: BUDDY BUDDY e l'arte essere
all'antica. In: Filmcritica: Rivista mensile di Studi
sul Cinema 33,329/330, 1982, S. 603-612.
Rezensionen I:
Ansen, D.: Movies: some like it not. In: Newsweek
98, 14.12.1981, S. 124.
Argentieri, Mino: Rez. In: Cinema 60: Mensile di
cultura cinematografica 22,146, 1982, S. 57-58.
Bellamore, Linda: Rez. In: Segnocinema: Rivista Cinematografica Bimestrale, 5, Sepz. 1982, S. 60.
Beringer, J.: Rez. In: Fernseh- und Kino-Technik 26,
März 1982, S. 145-146.
Bruno, E.: L'allucinazione perversa. In: Filmcritica:
Rivista mensile di Studi sul Cinema 33,323, Aprile
1982, S. 131-132.
Canby, Vincent: Rez. In: The New York Times 131,
11.12.1981, S. C12.
Coleman, J.: Films: under the skin. In: New Statesman 103, 14.5.1982, S. 29-30.
Combs, Richard: Rez. In: Monthly Film Bulletin 49,
Jan. 1982, S. 4-5.
Corliss, Richard: The O.D. couple. In: Time 119,
4.1.1982, S. 87.
Denby, D. Head of the class. In: New York Magazine
14, 21.12.1981, S. 51-52+.
Farber, Stephen: Wilder: a cynic ahead of his time.
In: The New York Times 131, 6.12.1981, sect. 2, S.
1+.
Franchi, I.: Rez. In: Cinema Nuovo 31,277, June
1982, S. 48.
Germani, Sergio Grmek: Rez. In: Filmcritica: Rivista mensile di Studi sul Cinema 33,329/330, 1982, S.
559-61.
Gilodi, Renzo: Rez. In: RC / Rivista del cinematografo e delle comunicazioni sociali 55,5, 1982, S.
237.
Gilodi, R.: Rez. In: Rivista del Cinematografo 55,
May 1982, S. 237.
Kane, M.: Rez. In: The Film Journal 85, 21.12.1981,
S. 18.
Kauffmann, Stanley: Rez. In: The New Republic
186, 6.-13-1-1982, S. 28-29.
Klovedal, M.: Rez. In: Levende Billeder 8,
16.1.1982, S. 51-52.
Mactrevor, Joan: Les américains ont tourné le remake de L'EMMERDEUR. In: Ciné-Télé-Revue 62,
Febr. 1982, S. 34-35.
McCarthy, Cart T.: Rez. In: Variety 305, 9.12.1981,
S. 20.
McVay, D.: Rez. Films and Filming, 333, June 1982,
S. 36-37.
Newman, Kim // Variety Movie Reviews; 1/1/1982,
Issue 1, p14
Nuccio, Lodato: Rez. In: Cineforum, 216, Juli/Aug.
1982, S. 57-63.
Quinlan, D.: Rez. In: Photoplay Movies & Video 33,
May 1982, S. 25.
Sarris, Andrew: Auteurism in action. In: The Village
Voice 26, 16.-22.12.1981, S. 73.
Schelepern, S.: Morderen vil ikke forstyrres. In:
Kosmorama 28,161, Oct. 1982, S. 173-174.
Sragow, M.: Movies: viva REDS. In: Rolling Stone,
361, 21.1.1982, S. 24-25.
Summers, J.: Rez. In: Boxoffice 118, Jan. 1982, S.
58-59.
Turner, Adrian / Sinyard, Neil: Rez. In: Positif, 271,
Sept. 1983, S. 47-52.
Turroni, Giuseppe: Stella di tenebra. In: Filmcritica:
Rivista mensile di Studi sul Cinema 33,323, 1982, S.
133-136.
Walker, Merv: Rez. In: Christian Century 99,
27.1.1982, S. 101-102.
Rezensionen II:
The Hollywood 265,29, 17.2.1981, S. 10.
Location report.
Le Film Français, 1859, 12.6.1981, S. 7.
Interview with the French producer of the film.
Variety, 9.12.1981, S. 20.
Motion Picture Product Digest 9,15, 30.12.1981, S.
60.
Monthly Film Bulletin 49,576, Jan. 1982, S. 4-5.
Films and Filming, 333, June 1982, S. 36-37.
Positif, 271, Sept. 1983, S. 47-52.

Billy Wilder. Billy Wilder

Transcrição

Documentos relacionados

Hickstead Master List

acta de curso - FCEA - Facultad de Ciencias Económicas y de

Epson Stylus Office BX300F/TX300F Series

Magica Trottola Rainbow Spinner Toupie Magique

Apresentação do PowerPoint

Sensore pressione metano per indicatore di livello GNC pressure

www.chicco.com CHIAVI COLORATE TEETHING KEY RING

Puertas enrollables

Buen viaje, seleccionado en el 25th Festroia

Composição dos grupos de trabalho